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Topic: Tsai Ming Liang

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  Tsai Ming-liang
Tsai Ming-liang presents a harrowing, austere, and poignant examination of urban decay, amorality, ennui, and alienation in Rebels of the Neon God.
Tsai's oblique vision of a languishing, highly industrialized, and impersonal post "economic miracle" Taiwan recalls the bleak landscape and pervasive ennui of Michelangelo Antonioni's films.
Tsai further uses the visual incongruity of the colorful, high energy, campy musical fantasy sequences as a sharp contrast to the tedium of the woman's oppressive existence, and as a reflection of her increasing attraction to the man upstairs.
www.filmref.com /directors/dirpages/tsai.html   (2101 words)

 Tsai Ming-Liang: Cinematic Painter
Tsai's affection for this side of his characters is one way in which he locates the comedy in their solitude.
Tsai's project, in a sense, is to photograph loneliness, and so there's very little development or drama in most of his scenes – they don't so much progress as they do simply last.
Tsai produces some of his purest comedy from the comings and goings of the three, but the film is as exquisitely balanced between tragedy and comedy as any of them.
www.sensesofcinema.com /contents/02/20/tsai_painter.html   (2745 words)

 Movies Other|   (Site not responding. Last check: 2007-10-20)
Tsai’s Taiwan is a world of silences, of furtiveness, of spaces too large or too small for the solitudes they bound — solitudes brought into communication with each other more through the director’s elaborate intercutting and rectilinear intra-frame partitions than through his larval and open-ended narratives.
Tsai here develops a silent-comedy quality already suggested in Rebels: in one scene, a pair of shoes is pushed out from underneath a bed, followed by a jacket, followed by their crouching owner’s arms, head, and torso.
Tsai’s formal rigor pays off in numerous ways as the empty spaces in the frame and in the narrative gradually fill up.
www.bostonphoenix.com /boston/movies/documents/02164886.htm   (1204 words)

 Tsai Ming-liang | The A.V. Club
Born in Malaysia, Tsai moved to Taipei when he was 20, graduated with a degree in drama and cinema from the Chinese Cultural University Of Taiwan, and immediately found work as a theatrical producer and television director.
Tsai Ming-liang: In 1991, I was producing a TV show, a half-hour drama about a junior-high-school student, and I was looking for a new face for the lead role.
TML: The concept for that movie was developed back in 1995, when a group of French TV producers decided to finance 10 films about the turn of the century.
www.avclub.com /content/node/22680   (2177 words)

 village voice > film > "Urban Ghosts and Legends: The Cinema of Tsai Ming-liang" at the Walter Reade by Dennis Lim
While the Malaysian-born Tsai (he moved to Taipei in his late teens) is deemed the key figure of new Taiwanese cinema's second wave, his work is less political and historically freighted than that of forerunners like Hou Hsiao-hsien and Edward Yang.
As the cavity between the apartments widens, Tsai duly piles on the penetration and (re)birth metaphors, punctuates the action with incongruously resplendent musical numbers set in the damp corridors and stairwells of the drab apartment block, and advances the taciturn romance with his distinctive strain of poker-faced, prop-ridden slapstick.
Steeped in free-floating despair, Tsai's films are nonetheless disinclined to take their leave without first maneuvering their lonely individuals into agonizing proximity, poised to achieve momentary contact—a fleeting stolen moment, a hallucinated figment, a soul-scalding collision.
www.villagevoice.com /issues/0126/lim.php   (1068 words)

 Chicago Reader Movie Review
Stylistically, Tsai favors filming most action in medium or long shot, in extended takes, and with the camera planted in the center of a room—a fairly cool and detached way of dealing with the sadness and isolation of his characters, whether they’re alone or not.
Tsai’s poker-faced distance from his characters may make one think of Buster Keaton or Jacques Tati, as Kent Jones suggests, but the occasional comic inflections may not always be intentional.
In one interview Tsai mentions that when the father rides behind his son on the motorbike en route to the hospital, holding his son’s head in his hands, this is based on something that really happened when Lee hurt his neck during the shooting of Rebels of the Neon God.
www.chicagoreader.com /movies/archives/2000/0400/000414.html   (1239 words)

 INTERVIEW: Cities and Loneliness; Tsai Ming-Liang's "What Time Is It There?"
In conversation, Tsai is prone to interjecting peals of laughter in the middle of what often are long and thoughtful responses.
Tsai Ming-liang: There are so many things in life that we have to face, but the thing that especially concerned me was the passing away of my father in 1992.
Tsai: My first time in New York was last July, and I thought it was the most exciting city I had ever seen, with the high skyscrapers and the uncomfortable subway system.
www2.indiewire.com /people/int_Tsai_Mingliang_020122.html   (1648 words)

 reverse shot : online : winter 2004
Rigorously aestheticized, Tsai's output thus far have been composed of remarkably lucid, stringently funny, deathly terrifying minimalist spectacles of suspended misery and tacit longing.
Comparisons to Antonioni are unavoidable yet negligible; there's a purity to Tsai's compositions of alienation that even Antonioni could never manage, coming as he did during a much hyped period of filmmaking fraught with expectations.
Tsai's just sort of drifted in unassumingly, with a wry smile on his face rather than a pained grimace.
www.reverseshot.com /winter04/intro.html   (784 words)

 Tsai Ming Liang's Goodbye Dragon Inn   (Site not responding. Last check: 2007-10-20)
Found Tsai Ming Liang's newest Goodbye Dragon Inn, which is currently playing the international festival circuit.
Actually, we weren't sure we were holding a coveted copy of the Tsai Ming Liang film because the DVD cover wasn't very clear.
Tsai Ming-Liang's main actor, the young man in all his films, Lee Kang-Sheng, took the director's seat himself for a feature called "The Missing".
mytlc.com /michael/one-entry?entry_id=20714   (534 words)

 Asia Pacific Arts Online Magazine   (Site not responding. Last check: 2007-10-20)
Tsai emphasizes that his films do not tell stories in any conventional way because he has no inspiration; his films merely describe an emotion, which he usually draws from himself.
Tsai's most recent product is "Goodbye Dragon Inn," which has already won the Fipresci Award at the Venice Film Festival and is currently entered in both the Chicago and New York Film Festivals.
Tsai's films, without a doubt, are a departure from mainstream movies, whether it is sparse dialogue or no music, to long shots of ordinary everyday objects, such as a cup.
www.asiaarts.ucla.edu /102403/tsaiming.html   (589 words)

 Intersections: Film Review, The Hole">   (Site not responding. Last check: 2007-10-20)
The unforgiving realism of Tsai's depiction of the city is made weirdly hyperbolic by his stylised cinematic language, particularly in his characteristically ruthless use of the long take.
Tsai's cinema's fleeting suggestions of hope preclude a reading of his films as naïve nostalgia or pure pessimism.
Tsai's vision suggests that in spite of the strictly unliveable conditions in which people are nevertheless forced to live, the resilience of their fantasies and desires enables them to make meaning from their world and go on living.
wwwsshe.murdoch.edu.au /intersections/issue4/holereview.html   (1997 words)

 The films of Tsai Ming-Liang in the context of the new Taiwanese Cinema
Tsai's conceptualisation of Taiwan is so tainted that in The River the father unknowingly masturbates his son in a gay sauna, only to slap him when the lights come on.
Tsai's bleak unforgiving films portray individuals as lost, insect-like in their movements and feelings, caught in a paradox where bodily functions have been coopted by the environment - the state.
Like his Cantonese compatriot, Wong Kar Wai, Tsai also uses coincidence and criss-crossing paths to suggest a fate for each person, and hence an underlying logic and pattern to their lives, a guiding hand and subtle optimism they are merely unaware of.
www.cse.unsw.edu.au /~peteg/toto/tsai.htm   (2656 words)

 Rainmaker - Tsai Ming-Liang's film, Et la-bas, quelle heure est-il? - Review ArtForum - Find Articles
Tsai's Taipei is the Atlantis of anomie: The twentieth century's waterlogged myths of freedom and building a better life through progress are interned there.
Tsai's straggling guppies have had to adapt to their polluted surroundings: They've learned to live with the stuff that's gradually killing them.
Reflected in the stare--gaze is far too polite a word for it--of Tsai's coolly unflinching camera eye, the voyeurism is so objectively detached it turns despair into a form of slapstick abstraction.
www.findarticles.com /p/articles/mi_m0268/is_10_39/ai_80485037   (868 words)

 Harvard Film Archive: Directors in Focus
His recurrent subject is the human condition, the solitary nature of individual lives, the rituals that engender survival, and the restorative powers of love.
This sampler of work by Tsai is cosponsored by the Department of East Asian Studies, and his visit has been made possible through the auspices of the Taipei Cultural Center.
Tsai elegantly intercuts the shopkeeper’s eccentric behavior back in Taiwan with the woman’s own odd encounters in Paris, including crossing paths with Jean-Pierre Leaud at a Paris cemetery.
www.harvardfilmarchive.org /calendars/03_fall/tsai.html   (537 words)

 Tsai Ming-liang's Vive l'amour: Taipei's lonely souls
Tsai Ming-liang's Vive l'amour examines the lives of three people who live in Taipei, Taiwan's capital.
He is, in Tsai's words, "so directionless, scared and in pain that he wants to kill himself....
Tsai Ming-liang was born in Ku Ching, Malaysia in 1957 and graduated with a degree in drama and film from a Taiwanese university.
www.wsws.org /arts/1994/oct1994/tsai-o94.shtml   (1386 words)

 Malaysian-Chinese director Tsai Ming-liang gives stinging rebuke of commercial cinema   (Site not responding. Last check: 2007-10-20)
In one example of watering down movies, Tsai said movie executives resisted the idea of not using subtitles in a part of his new movie "I Don't Want To Sleep Alone'' where Malaysians and Indians are speaking their native language in Kuala Lumpur.
Tsai's "The River'' is known for a controversial scene in which father and son have a sexual encounter.
Tsai said he had to work hard to establish a following of about 50,000 viewers in his adopted home Taiwan, where he attended university, personally hitting the streets to sell tickets.
thestar.com.my /news/story.asp?file=/2006/10/17/nation/20061017191908&sec=nation   (716 words)

Raised in Malaysia, Tsai Ming-Liang moved to Taiwan to study film, and now with five features under his belt, he has become one of the island’s most internationally acclaimed directors.
Against this nightmarish backdrop, Tsai focuses on a grocer (Lee Kang-sheng) who uses a hole his plumber has left in his floor to spy on his unsuspecting female neighbor.
Tsai Ming-Liang’s most recent work is a digital film about a medium in a trance.
www.americancinematheque.com /archive1999/2001/tsaimingliang.htm   (288 words)

 Chinese Directors - Tsai Ming-liang
Set just prior to the start of the 21st century, this vaguely futuristic story follows two residents of a quickly crumbling building who refuse to leave their homes in spite of a virus that has forced the evacuation of the area.
The first theatrical feature from Tsai Ming-liang (What Time Is It There?, The River) concerns a disaffected Taipei youth who leaves school and becomes involved with the criminal life.
With his distinctively quiet, deliberately paced style and moments of absurdist humor, Tsai Ming-liang explores cross-continental loneliness in one of the best-reviewed films of his career.
www.multilingualbooks.com /foreignvids-chin-tsaimingliang.html   (765 words)

 Hour.ca - Film - Tsai Ming-liang
Malaysian-born and Taiwan-bred, Tsai Ming-liang started his filmmaking career in the early '90s, an inevitable outcome after years of slavish interest in the films of the Nouvelle Vague and the New Italian and German Cinema.
Tsai borrows Truffaut's faux-documentary style and even the gimmick of coming back to a single character film after film.
In Tsai's larger attempt to capture the speckled-gray truth of Taiwanese city life, there are flashes of Larry Clark's or John Cassavetes' anomic take on sexuality.
www.hour.ca /film/film.aspx?iIDArticle=5775   (1166 words)

 Tsai Ming-liang Film Screening and Reception   (Site not responding. Last check: 2007-10-20)
Tsai Ming-liang will also meet with local film students and members of the local media throughout his visit to Boston.
The highlight of Tsai Ming-liang's visit is an invitation only reception and a screening open to the public of "Goodbye Dragon Inn" on Tuesday, October 19 at the Harvard Film Archive located at 24 Quincy Street, Cambridge, MA.
Tsai Ming-liang's films focus on wide-ranging topics, but they all share similar minimalist elements that Tsai has become well known for.
www.roc-taiwan.org /boston/press/20041014/2004101401.html   (171 words)

Just earlier last year, the only Tsai Ming-Liang titles readily available either on video or as prints in America were Vive l'amour and The Hole, the former admittedly the work that brought Tsai international attention but neither, in my opinion, the most representative, or even the best, of Tsai's work.
In the latter, Tsai has located a character whose upper middle class background distinguishes her from the more working-class milieu that the director has previously restricted himself to.
Tsai's greatest assets remain his precise way with compositions and architectural spaces and his alternate bemusement and compassion as a curious documentarian / anthropologist observing the ever enigmatic, always surprising Hsiao-Kang, both on his own and in relation to his family, as he grows up and evolves in post-Confucian Taipei.
www.camerastylo.com /tsaiessay.htm   (1279 words)

 Full Alert Film Review: The Hole
Concurrently, one finds all the tics of the scriptwriter, which can irritate sometimes, but always end up justified by the story: floods, rain (to which is added here the fall of the refuse that all the inhabitants of the building throw out their window into the interior court), the bathrooms, the toilets, etc....
More surprising for those familiar with the style of Tsai Ming-Liang is undoubtedly the sudden erruption of musical comedy scenes which gradually prove to be an exploration of the characters' unconscious, the expression of their desires, their fantasies.
In addition to what this scene says of the society that Tsai Ming-Liang depicts, it is also the occasion for the scriptwriter to say good-bye to Lee Kang-Sheng's former character.
wlt4.home.mindspring.com /fafr/reviews/hole.htm   (872 words)

 Harvard Film Archive: Premieres
Tsai's newest feature expands the definition of cinéphilia to encompass the act of cinemagoing itself: Goodbye Dragon Inn is an act of tribute to the film medium,
Tsai's film and Dragon Gate Inn are subtly intertwined: Tsai takes some editing cues from the action and soundtrack of the film onscreen, and dialogue from the screen occasionally seems to be commenting on the action in the theater.
What emerges is an affectionate, nuanced look at the act of cinema-going, the culmination of Tsai's recent investigations into the presence that popular media has in our lives.
www.harvardfilmarchive.org /calendars/04_fall/tsai.html   (403 words)

 Confined Space - Interview with Tsai Ming-Liang
Tsai Ming-Liang: These are films from the '50s and '60s and also some from the '70s.
TML: That fish lives in the house of Hsiao-Kang's family, and in a way for me it is the father of Hsiao-Kang.
TML: On the one hand, it is a restriction; on the other it is very safe.
www.sensesofcinema.com /contents/02/20/tsai_interview.html   (2193 words)

 Combustible Celluloid interview - Tsai Ming-liang, What Time Is It There? (2001)
The soft-spoken, bespectacled and buzz-cut 44 year-old Tsai traveled to San Francisco last fall to promote his newest film, bringing with him his five-time lead actor Lee Kang-sheng (also known by his onscreen character's name Hsiao-kang).
In a way, Tsai's filmmaking method resembles that of master French filmmaker Robert Bresson (Diary of a Country Priest and Pickpocket), who worked with very still, austere shots and used what he called "models" instead of actors.
Tsai says he admires Bresson but that he works quite differently.
www.combustiblecelluloid.com /interviews/tsai.shtml   (1023 words)

 Tsai Ming-liang - Wikipedia, the free encyclopedia
Tsai Ming-liang (Chinese: 蔡明亮; pinyin: Cài Míngliàng) (born in 1957 in Kuching, Malaysia) is one of the most celebrated "Second New Wave" film directors of Taiwanese Cinema, along with such contemporaries as Hou Hsiao-Hsien and Edward Yang.
Tsai is a Chinese born in Malaysia, and lived there "in a very simple small village" for 20 years after which he moved to Taipei.
This, he says, had "a huge impact on [his] mind and psyche", perhaps later mirrored in his films.
en.wikipedia.org /wiki/Tsai_Ming-liang   (202 words)

 The History of Cinema. Tsai Ming-Liang: biography, filmography, reviews, links
The focus of the plot actually revolves around the audience (one young man in particular) and eventually the theater becomes the real protagonist.
But this is part of Tsai's weird perspectives: he shoots scenes from strange angles, and he tells his love story also from a strange angle.
Most of the film is not spoken, the only words coming from an old movie that is being shown in the theater.
www.scaruffi.com /director/tsai.html   (1240 words)

 Carlos Rojas, Tsai Ming-liang's Rebels of the Neon God   (Site not responding. Last check: 2007-10-20)
Although his work engages with gay and Taiwanese themes, Tsai Ming-liang is nevertheless careful to resist the reductive identifications (of being a "gay director," etc.), which those thematics might appear to imply.
Proceeding from a detailed reading of Tsai's 1992 debut film Rebels of the Neon God and his 1995 AIDS documentary My New Friends, this essay argues that Tsai's films encourage us to reexamine the very notion of "identity" ostensibly underlying these processes of identification themselves.
In particular, the author argues that Rebels foregrounds processes of fluidity and mediation, suggesting a vision of identity that is not based on specific spatial or libidinal loci, but rather is the product of more delocalized processes of transference and displacement.
mclc.osu.edu /jou/abstracts/rojas2.htm   (127 words)

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