By Tonglin Lu
Regardless of adjustments within the political, social, and fiscal platforms of Taiwan and mainland China, the method of modernization in either has challenged conventional cultural norms. Tonglin Lu examines how changes in cultural formation among Taiwan and China have motivated reactions to modernity and the way cultural id has taken assorted kinds on either side of the Taiwan straits. She illustrates how those changes within the adventure of modernity are expressed via research of paradigmatic movies produced in either nations, with a specific emphasis on their formal experiments.
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Additional resources for Confronting Modernity in the Cinemas of Taiwan and Mainland China
Their subversive intent notwithstanding, they are implicitly consistent with the dominant ideologies in their respective societies. Since the Nationalist government arrived in Taiwan in the late 1940s as the politically dominant minority, it has attempted to legitimize its power by projecting the cultural center onto mainland China, which it portrayed as the dreamed-of but temporarily unreachable motherland. Because of the Nationalists’ political exile, for them this center can be situated only in the past, in traditional culture, not in the present, since China is occupied by their enemy.
At the same time, her interiority symbolizes the fate of a much larger community. The same community is also represented by another image: the yellow earth. As the female lead, Cuiqiao is both the most expressive and the emptiest signiﬁer in the ﬁlm: expressive because not only does she offer a timeless image of the Chinese woman but she also symbolizes a predominately male community; empty because she has to forgo her subjective position to represent this community. 19 In his more recent book Seeds of Time, he also modiﬁes his previous division of the three worlds while discussing a Russian novel.
He pronounces, “Every girl must follow this road” (shuijia de nüzi buzou zhege lu). The father speaks from the standpoint of a timeless tradition. Later in another sequence, Cuiqiao faces a different disembodied male voice. Her conversation with Gu Qing before his departure reminds us of that with her father. Gu is inside the cave after brieﬂy facing her. Cuiqiao sits beside the door, facing the camera. Gu’s offscreen voice has a strange effect on Cuiqiao’s face. Shaken by the news of his immediate departure, Cuiqiao asks him: “Won’t you collect folk songs?