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Topic: Hou Hsiao-Hsien

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Hou Hsiao-Hsien Recapturing lost illusions in the films of Hou Hsiao-Hsien Hou spies on the uncle as he gets a girl pregnant and falls out with grandpa, and follows the little sister as she bonds with the local madwoman. The violence, in particular, as in all of Hou's films, is seen in the distance, an absurd flurry of rage and pain observed with Olympian detachment and often through intervening frames of windows or doors or greenery. www.bostonphoenix.com /archive/movies/00/03/02/HOU_HSIAO_HSIEN.html   (1423 words)

CINETEXT Hou Hsiao-hsien Hou Hsiao-hsien, on the other hand, whilst never making films that hermetically explore only the recent history of his country, has nonetheless consistently been the most overt of his contemporaries in the way he has told personal stories that have presented small, marginal characters living their lives in the turbulent and imposing shadow of history. In 1989, however, as Hou moved into the next phase of his filmmaking, this largely implicit sense of huge change, of a way of life being eroded and of a darkening of personal horizons would prove to be a very apt, indeed central metaphor for the direction some of his new films would take. With these protagonists and their families, Hou is able to explore (albeit implicitly) the tensions inherent in modern Taiwanese society, where the youth have to grow (and the country develop) at an alarming speed as traditional values crumble beneath a search for identity. cinetext.philo.at /magazine/bingham/cinema_of_sadness.html   (4007 words)

Hou Hsiao-Hsien -- Facts, Info, and Encyclopedia article Hou Hsiao-Hsien (; April 8, 1947) is an award-winning film director and leading figure of (A government on the island of Taiwan established in 1949 by Chiang Kai-shek after the conquest of mainland China by the communists led by Mao Zedong) Taiwan's "New Wave" cinema movement. Hou was voted "Director of the Decade [1990s]" in a poll of American and international film critics, put together by The (Click link for more info and facts about Village Voice) Village Voice and Film Comment. Hou was educated at the National Taiwan Academy of the Arts. www.absoluteastronomy.com /encyclopedia/h/ho/hou_hsiao-hsien1.htm   (202 words)

The Films of Hou Hsiao-Hsien Hou's film is similar to other works inspired by neo-realism, in that the first half seems to be filled with joy, in recounting the pleasures of traditional family life, and the second half is filled with sorrow, as suffering and social disintegration tear everything apart. Hou became involved in gangs as a teenager, as were many boys in his neighborhood. Hou's characters are much more concerned about their daily life than about the big events going on in the background. members.aol.com /MG4273/hou.htm   (1116 words)

The Films of Hou Hsiao-Hsien Hou’s films have always displayed some element of the master-shot style, but this is less true of his earlier films. Hou, based in Taiwan, is one of the most acclaimed directors of the past two decades by film buffs and critics alike. Hou’s films are difficult, and no one is going to suggest that his films will make big bucks, but mass appeal should not be a determinant of aesthetic judgment. www.culturevulture.net /Movies2/HouHsiao-Hsien.htm   (1607 words)

Hou_hsiao_hsien Great movie, bad format : It's wonderful to see Hou Hsiao.hsien's films available on DVD at last, given how difficult it is too see them in theaters, and this is a fascinating and rewarding film... Not for all tastes, but great in my opinion : Like the films of Ozu, Dreyer, or Von Trier, Hou Hsiao.Hsien's films tend to alienate a good portion of their audiences and turn the others into raving mad fanatics of the director's work... Hou's one of the most unknown great directors :...Hou's "The Puppetmaster" is actually a period drama that has no special effects in it at all. dvd.mysic.ca /Director/Hou_Hsiao_Hsien   (343 words)

The History of Cinema. Hou Hsiao-Hsien: biography, reviews, links Hou's hyper-realism is so realist that he reproduces the insignificant details of sordid lives that are traditionally omitted in action films. Hou is less interested in telling a story (individual or collective) than in shooting scenes of ordinary lives. Hou shows little interest for the story itself. www.scaruffi.com /director/hou.html   (3233 words)

Hou Hsiao-hsien Hou Hsiao Hsien presents a visually breathtaking, hypnotic, and understatedly poignant examination of rootlessness, secularity, and alienation in Goodbye South Goodbye. Hou Hsiao-hsien elegantly and compassionately captures the melancholy, inertia, and travails of maturation in The Boys from Fengkuei. Hou Hsiao-hsien crafts a visually hypnotic and intricately fascinating portrait of love, power, and servitude in The Flowers of Shanghai. www.filmref.com /directors/dirpages/hou.html   (2594 words)

Film Review -- A smattering of Hou Hsiao-Hsien Hou's impeccable compositions and distanced, predominantly static camerawork betray a great deal of control regarding what ends up on screen, so this is in no way an accident; it just appears to be an aesthetic that I do not appreciate. In Flowers Of Shanghai, the one Hou film that I absolutely adore, the sense of distance found in these earlier films is transmuted into keen focus through the use of a fly-on-the-wall camera that eavesdrops on the film's inhabitants. Hou's sensibilities and mine seem to have finally crossed; I can't wait to see what he might do next. www.interlog.com /~lamedog/film/logs/old/houhsiao.html   (524 words)

Hou Hsiao-Hsien Encyclopedia Article, Definition, History, Biography Hou Hsiao-Hsien (Chinese: 侯孝賢; pinyin: Hóu Xiàoxián) (born April 8, 1947) is an award-winning film director and a leading figure of Taiwan's New Wave cinema movement. Hou generally makes rigorously minimalist dramas dealing with the upheavals of the Taiwanese (and occasionally larger Chinese) history of the past century by viewing its impacts on individuals or small groups of characters. Hou was voted "Director of the Decade" for the 1990s in a poll of American and international critics put together by The Village Voice and Film Comment. www.karr.net /search/encyclopedia/Hou_Hsiao-Hsien   (705 words)

Parametric Narration and Optical Transition Devices: Hou Hsiao-hsien and Robert Bresson in Comparison Hou and Bresson manipulate the device of the fade or the dissolve to deflect spectator attention away from the amount of time that has elapsed between segments and other such questions of plot and to direct he/she towards pondering the evolution of the film's style. The opening title card of Hou's film is rather commonplace and paints a quick portrait of the historical period in which the film is set (13). I will argue that this may also be extended to Hou's Shanghai, a film that frequently overloads the spectator with stylistic subtleties and that challenges he/she to perceive the patterns of style it exhibits (5). www.sensesofcinema.com /contents/04/33/hou_hsiao_hsien_bresson.html   (6724 words)

Film Comment Hou was reportedly trying to figure out a valid way to deal with contemporary life (this was his first film with a completely contemporary setting since Daughter of the Nile), and he settled on movement as the central motif. In interviews, Hou often portrays himself as a chronicler, devoted to preserving the bits and pieces of his culture that are disappearing. Hou's characters don't evolve much by Western standards, but our sense of them deepens as the structure of their universe comes into ever sharper focus through the duration of the film. www.filmlinc.com /fcm/9-10-99/hou.htm   (2388 words)

VH1.com : Movies : Person : Hou Hsiao-Hsien : Biography Director Hou Hsiao Hsien, in a 1988 New York Film Festival World Critics Poll, was voted one of three directors who would most likely shape cinema in the coming decades. Hou was born to a member of the Hakka ethnic minority in southern Guangdong province in mainland China, but his parents emigrated to Kaohsiung, Taiwan, in 1949, to escape the bloodshed of the Chinese civil war. Hou's work centers on two recurring themes, the social upheaval and erosion of traditional family ties resulting from Taiwan's rapid urbanization in the 1960s and 1970s and the representation of Taiwan as a multicultural, multilingual society, a view that intentionally differed from the government's enforcement of Mandarin as the official tongue. www.vh1.com /movies/person/83922/bio.jhtml   (682 words)

The Thematic Development of Hou Hsiao-Hsien’s Films Hou's intimate epic focuses on an extended family, the Lins, in the years between the end of the war and the invasion by the Nationalist forces, and centres on the fallout of the 2.28 Incident. Hou is less interested in how red scare intensified into "white terror," than in how the inhibition of political memory continues to exact a psychic toll decades after the event. Hou focuses on the courtesans who serve the men, and he presents the stories of three such "flowers," narratives that are mostly independent from each other. individual.utoronto.ca /variations/2004060701.htm   (1452 words)

village voice > film > Hou Hsiao-hsien; The Straight Story by J. Hoberman An Unfolding Horizon: The Films of Hou Hsiao-Hsien Shot completely in richly lit interiors, Hou's first movie to be wholly set in China is populated by a gaggle of late-19th-century courtesans and their wealthy opium-addled clients. Hou's historical features—A Time To Live and a Time ToDie, City of Sadness (1989), and Good Men, Good Women (1995)—evoke the experience of the mainland Chinese who arrived on the island with the nationalist army. www.villagevoice.com /film/9941,hoberman,8969,20.html   (1386 words)

Buenos Aires 4th International Festival of Independent Cinema--Part 2 Films of Taiwanese director Hou Hsiao-hsien, and a number of documentaries Hou depicts the activities of left-wing opponents of the Nationalist regime, doomed to fall under the heel of the regime. Hou seems as bewildered and overwhelmed by the present state of society in Taiwan, and presumably in China as well, as his relatively unsympathetic youthful characters in Millennium Mambo. Hou’s view of Taiwanese history is essentially tragic and pessimistic (and consequently, dramatically laborious and visually static). www.wsws.org /articles/2002/may2002/baf2-m17.shtml   (2967 words)

WAC Press Release 2000 Hou Hsiao-Hsien Hou was voted Director of the Decade in the First Annual Village Voice Critics Poll (1999), and Flowers of Shanghai was named film of the year by six Voice critics. As Hou tracks the no-so-quiet desperation of his cell-phone-addicted, fast-living characters, his signature long takes and elaborate visual design give way to an edgier cinematic style and a hard-rock sound track. A graduate of Taiwan's National Art Academy, Hou worked his way up through the film industry serving first as a continuity person, then a scriptwriter, and finally an assistant to several established directors. www.walkerart.org /archive/4/B1A391EFF667C12F6130.htm   (555 words)

Chicago Reader Movie Review Hou was born in Canton on April 9, 1947—shortly after the end of the Japanese occupation, in the midst of the civil war between communists and nationalists—and wound up with his family in Taiwan the following year. It’s also worth remarking that City of Sadness, one of Hou’s more difficult films for Westerners in terms of plot, was his biggest hit in Taiwan; by broaching historical and cultural issues that couldn’t be discussed when the island was under martial law—that is, for the entire century until 1987—it caused a major sensation. Hou’s shift from entertainer to artist also suggests an ambiguity in cultural identity, traced symbolically by the hero of his Chekhovian sketch for The Sandwich Man. www.chireader.com /movies/archives/2000/0600/000602.html   (1396 words)

Cannes Film Festival Hou Hsiao Hsien on his directorial decisions in the various parts: "Today in Taiwan, you can't find a single trace of what daily life was like there in the 1960s, whether you're talking about objects or architecture. Director Hou Hsiao Hsien, enjoying his seventh visit to the Cannes Festival, was given the honor of concluded the last day of competition as the red carpet was rolled out for him at the Palais, for the official screening of Three Times. Hou Hsiao Hsien on the film's music: "The love songs you hear in the first story are the pieces I enjoyed listening to when I was young. www.festival-cannes.fr /perso/index.php?langue=6002&personne=6330   (809 words)

hou Hou loves populating his shots with characters in different parts of the frame, each conducting his own activity, often unaware of the other's presence, so that when the occasional interaction occurs, it takes both viewers and characters by surprise. One of Hou's favorite setups is of a group of men gathered around at a social setting conducting their business, while women, whether courtesans or karaoke hostesses, refill their drinks and generally entertain the men. Hou remembers, on filming the early Boys from Fengkuei, telling his cinematographer always to pull further back, to be at a more objective distance and show more of what's happening around. www.camera-stylo.f2s.com /hou.htm   (1276 words)

History and sadness: Hou Hsiao-hsien's Good Men, Good Women Hou locates the historical trauma, and it would be a good place for any of us to begin, in the post-World War II era. Hou, it seems to me, is one of the few contemporary artists who has considered this problem. To return to the starting-point: Hou is one of those who understands that historical events have implications for the psychological life of the individual. www.wsws.org /articles/2000/aug2000/hou-a12.shtml   (1835 words)

Anthology Film Archives - Film Schedule Hou's detachment is such that he introduces a disco by showing the DJ and his friends, through a window, dancing in the control booth. Hou's first masterpiece is a semi-autobiographical film, drawing on his childhood experiences when his family relocated to Taiwan from China. The famous scene of the pickpocket's magical raid on a train station ranks as one of the great tours-de-force of modern French cinema. www.anthologyfilmarchives.org /schedule?start=2005-2-08&end=2005-2-14&submit=Search   (3081 words)

HHH Hou Hsiao-hsien's body of work, and the emergence of the Taiwanese 'Nouvelle Vague,' must be located within the context of an intellectual movement that united Taiwanese writers, journalists and filmmakers at the end of the 1970's. Hou Hsiao-hsien's generation was born in Taiwan, or at a young age immigrated there, after the liberalization of the government following the 1975 death of Chiang Kai-shek. The acclaimed filmmaker of the masterpiece Flowers of Shanghai, Hou Hsiao-hsien has been called "the figure of the decade" by critics such as J. Hoberman and Amy Taubin, and is considered by many to be the greatest Taiwanese filmmaker of all time. www.frif.com /new2002/hou.html   (684 words)

Chinese Directors - Hou Hsiao-hsien Hou Hsiao-hsien turns his eye on Taiwan's sprawling suburbs in the story of would-be entrepreneurs and their desperate attempts to keep up with an ever-changing economy while living within an increasingly aimless society. Influential Taiwanese director Hou Hsiao-Hsien is known for his finely textured human dramas that deal with family relationships and address questions of personal and national identity against the backdrop of his native island's turbulent history. Hou takes the conventions of geisha melodrama--the cruelty of sexual commerce, the women's debts, the madam's bossiness, the self-protective, two-faced nature of a courtesan's attachments--and strips down the genre to its essence" (Phillip Lopate, New York Times). www.multilingualbooks.com /foreignvids-chin-houhsiaohsien.html   (638 words)

SUMMER / D'ÉTÉ FILMS The Hou Hsiao-Hsien Retrospective and its tour to Ottawa, Toronto, and Vancouver is made possible by the generous assistance of The Information Division, Taipei Economic and Cultural Office, Toronto. Hou brilliantly interweaves Liang's present, her remembered past, and her imagining of the film she is about to make, creating an extraordinary portrait of a woman in crisis. Hou's films explore the tensions in Taiwan between tradition and modernity, the island's tangled political history, and the implications of an ever-increasing American cultural influence. www.cfi-icf.ca /summer_2000_films.html   (2942 words)

Guardian Unlimited Film Features Hou Hsiao-hsien: The Time to Live and the Time to Die If Hou Hsiao-hsien, the Taiwanese director, hailed from the west, he would be more widely known as one of the world's foremost film-makers. Hou went on to make more audaciously structured films like the magisterial The Puppetmaster, the true story of a famous old folk artist. The Time to Live and the Time to Die (a terrible English title, possibly based on the Douglas Sirk film, A Time to Love and a Time to Die) was Hou's second film to reach the west after the charming A Summer at Grandpa's and, like that film, was semi-autobiographical. www.guardian.co.uk /Film/Century_Of_Films/Story/0,4135,349875,00.html   (645 words)

HOU HSIAO-HSIEN, CHU TIEN-HSIN, TANG NUO, HSIA CHU-JOE - TENSIONS IN TAIWAN Hou Hsiao-Hsien was selected because he had no political colour. Hou: It’s also because during Chen Shui-bian’s tenure as Taipei mayor, and then as president, he mobilized youth culture—there were lots of mass dancing parties and celebrations held in front of City Hall, or the Presidential Palace, with a sea of ‘Chen Shui-bian Caps’. Hou: Much of the reason for the extent of their success lies in the resentment that the kmt dictatorship left behind. www.newleftreview.net /NLR26202.shtml   (9745 words)

Hou Hsiao-hsien, In search of New Genres... by Hou Hsiao-hsien (Revista on-line de cinema Rouge) When Hou can easily go on to make his own films the way he likes, one cannot but admire this generosity of his to put himself on the firing line both as a fighter and a symbolic presence to lead the Taiwanese film industry out of its current stagnation, if not demise. Cheng and Hsiao to me are quite similar in that they do not see the world from the perspective of how it is commonly felt. www.upf.edu /materials/huma/central/historia/cinema/temes/houart.htm   (3359 words)

Variety.com - Reviews - Hhh: Portrait of Hou Hsiao-Hsien Hou escorts Assayas, his interpreter and the camera crew around Taipei and to a village outside the capital, talking continually and amusingly about himself and his work. Hou also discusses "The Puppetmaster" (1993), which was partly filmed in mainland China, and his most recent film, "Goodbye South Goodbye" (1996). Hou, who sees himself as a Taiwanese, not Chinese, filmmaker, talks of the complexities of political and social life and how they affect his films. www.variety.com /review/VE1117912186?categoryid=31&cs=1   (569 words)

Salon.com Arts & Entertainment "Three Times" Hou Hsiao-hsien's lyrical new film captures the mystical quality of time when you're deeply in love. Taiwanese director Hou Hsiao-hsien is among the most gifted and fascinating filmmakers working today. Hou's last picture, the delicately shaded "Café Lumière" (2003), played film festivals but never found an American distributor. www.salon.com /ent/movies/review/2005/10/05/three_times/index.html   (343 words)

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