Susitikimai su prof. Chris Berry l Prarastas Taivano kinas 2021

Prarasto Taivano kino 2021 savaitės proga kviečiame jus į dvi paskaitas, leisiančias giliau pažvelgti į taivaniečių kalba kurto kino specifiką!Paskaitas ves prof. Chris Berry – vienas iš ,,Taiwan’s Lost Commercial Cinema: Recovered and Restored“ projekto iniciatorių, kino studijų programos profesorius „King`s College“ Londone, kurio tyrimų laukas apima visos Rytų Azijos kiną ir kitas vizualines medijas.

Lapkričio 20 d. 15 val.
,,Taiwanese-Language Films (Taiyupian): An Alternative Cinema of Poverty?“

Vietų skaičius ribotas !

Lapkričio 21 d. 14 val.
,,Taiwanese-Language Cinema in the Martial Law Era as a Cinema of the Cold War“

Vietų skaičius ribotas !

Paskaitos vyks anglų kalba.
Kino ir medijų erdvėje ,,Planeta“ (A. Goštauto g. 2, Vilnius) Po paskaitų nepraleiskite progos apsilankyti ,,Prarasto Taivano kino 2021“ seansuose.
Daugiau apie paskaitas:

,,Taiwanese-Language Films (Taiyupian): An Alternative Cinema of Poverty?

The cycle of over 1,000 low-budget, Taiwanese-language films made between the mid-1950s and early 1970s was neglected and forgotten for many years. By the time people became interested in reclaiming them as Taiwan’s heritage, only 200-plus survived. One reason for their low regard has been their low production quality. In this lecture, I propose approaching Taiwanese-language films as an alternative “cinema of poverty”. Recently, Song Hwee Lim has adapted Jerzy Grotowski’s idea of a “theatre of poverty” to analyse Midi Zi’s films. But where Lim and Grotowski see poverty as encouraging a high modernist stripping down to the essentials of the medium, Taiwanese-language cinema is another kind of cinema of poverty. It is characterised by the adoption of methods designed to maximise audience appeal in the shortest production time possible and at a low budget. These methods include sensational plot twists, emotive acting, and an exuberant practice of what Lu Xun in the 1930s called “grabbism” (拿来主义) – borrowing music, plot, and anything else that works from overseas to create a locally distinctive bricolage.

,,Taiwanese-Language Cinema in the Martial Law Era as a Cinema of the Cold War”

During the Cold War era of the 1950s and 1960s, Taiwan was under martial law. The population on the island was divided between mainlanders, who came with Chiang Kai-shek after his defeat in the Civil War with the Chinese Communists on the mainland, and the long-term Sinitic residents of the island. The two populations spoke different languages and had different cultures. At first, the Cold War seems to be a matter between Chiang and the Chinese Communists. Indeed, at least 30 per cent of the films made in Mandarin for the mainlanders were anti-Communist films. But this talk aims to show that the over 1,000 Taiwanese-language film (taiyupian) made for the locals were also profoundly shaped by it. First, the natural market of Minnanhua Sinitic language speakers was divided by the “Bamboo Curtain” and the government’s policies created both advantages and obstacles for the industry. Second, the films were local, but they were also part of a Cold War cosmopolitanism that connected Taiwan with other capitalist countries. And finally, if, as Chen Kuan-Hsing says, the Cold War has never ended in East Asia, how should we consider the new popularity of Taiwanese-language films in Taiwan today?