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Taiwanese New Wave Cinema
The cinema of Taiwan ( zh, t=臺灣電影 or ) is deeply rooted in the island's unique history. Since its introduction to Taiwan in 1901 under Japanese rule, cinema has developed in Taiwan under ROC rule through several distinct stages. It has also developed outside the Hong Kong mainstream and the censorship of the People's Republic of China. Characteristics Taiwanese directors In recent years, Taiwan's film industry has received recognition due to a number of internationally respected filmmakers, such as Hou Hsiao-hsien, Edward Yang, and the Malaysian-Chinese Tsai Ming-liang. Important Taiwanese directors from the 1990s include Chen Kuo-fu, Tsui Siu Ming, and independent producer Huang Ming-chuan Lai. Influence of the government From the late Japanese colonial period to martial law in Taiwan, the development of Taiwanese film was dominated by the official camp studio development. The film produced during that stage was mainly news footage taken by the government-ru ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ministry Of Culture (Taiwan)
The Ministry of Culture (MOC, ) is the ministry of the Republic of China (Taiwan) that promotes cultural and creative industries. The ministry also maintains thNational Repository of Cultural Heritage History Established in 1981 by Executive Yuan, the ministry was initially called the Council for Cultural Affairs (CCA). The council was upgraded to ministerial level in May 2012 under the name Ministry of Culture. The ministry was inaugurated on 21 May 2012, in a ceremony attended by President Ma Ying-jeou, Premier Sean Chen and several prominent artists, including poet Chou Meng-tieh, film director Li Hsing and singer Lo Ta-yu. President Ma stated in a speech during the ceremony that if politics is a "fence", then culture is "the pair of wings that fly over the fence". He expressed hope that the MOC would spread "Chinese culture with Taiwanese characteristics" around Taiwan and the world. In 2017, the MOC absorbed some duties of the Mongolian and Tibetan Affairs Commission, in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Second Sino-Japanese War
The Second Sino-Japanese War (1937–1945) or War of Resistance (Chinese term) was a military conflict that was primarily waged between the Republic of China and the Empire of Japan. The war made up the Chinese theater of the wider Pacific Theater of the Second World War. The beginning of the war is conventionally dated to the Marco Polo Bridge Incident on 7 July 1937, when a dispute between Japanese and Chinese troops in Peking escalated into a full-scale invasion. Some Chinese historians believe that the Japanese invasion of Manchuria on 18 September 1931 marks the start of the war. This full-scale war between the Chinese and the Empire of Japan is often regarded as the beginning of World War II in Asia. China fought Japan with aid from Nazi Germany, the Soviet Union, United Kingdom and the United States. After the Japanese attacks on Malaya and Pearl Harbor in 1941, the war merged with other conflicts which are generally categorized under those conflicts of World War II a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Censorship In The Republic Of China
Censorship in Taiwan (officially the Republic of China) was greatly relaxed when the state moved away from authoritarianism in 1987. Since then, the media has generally been allowed to broadcast political opposition. Today, the focus of censorship is slander and libel, cross-Strait relations, and national security. History Japanese period In 1936 the Japanese authorities prohibited Lee Shih-chiao from exhibiting his painting ''Reclining Nude'' (橫臥裸婦) at the Taiyang Art Exhibition on the basis of indecency. This instigated widespread protest from the Taiwanese art community as comparable works by western artists were held by Japanese and Taiwanese museums. Republic of China period In 1941, during the Second Sino-Japanese War, the second volume of the book "Inside Asia", by John Gunther, was prohibited and censored by the Chinese government. After Taiwan was handed over the Kuomintang-led Republic of China (ROC) from Japan in 1945 and the start of the 38 year martial l ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chiung Yao
Chiung Yao or Qiong Yao (; born 20 April 1938) is the pen name of Chen Che, a Taiwanese writer and producer who is often regarded as the most popular romance novelist in the Chinese-speaking world. Her novels have been adapted into more than 100 films and TV dramas. Early life Chen Che and her twin brother were born in 1938 during the Second Sino-Japanese War in Chengdu, Sichuan, to parents who had fled Beijing which had fallen to Japanese troops in 1937. Both her father Chen Zhiping () and mother Yuan Xingshu () were highly educated (Yuan's cousins include Yuan Xiaoyuan, Yuan Jing and Yuan Xingpei). In 1942, the family moved to Chen Zhiping's hometown of Hengyang, Hunan to join Chen Che's grandfather Chen Moxi (). In 1944, following the fall of Hengyang, they survived an arduous journey to the wartime capital of Chongqing, during which they narrowly escaping death and rape several times. In 1949, her family moved to Taiwan, where Chen attended the Affiliated Experimental Elemen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kung Fu Film
Kung fu film () is a subgenre of martial arts films and Hong Kong action cinema set in the contemporary period and featuring realistic martial arts. It lacks the fantasy elements seen in ''wuxia'', a related martial arts genre that uses historical settings based on ancient China. Swordplay is also less common in kung-fu films than in ''wuxia'' and fighting is done through unarmed combat. Kung fu films are an important product of Hong Kong cinema and the West, where it was exported. Studios in Hong Kong produce both wuxia and kung fu films. History The kung fu genre was born in Hong Kong as a backlash against the supernatural tropes of wuxia. The wuxia of the period, called ''shenguai wuxia'', combined '' shenguai'' fantasy with the martial arts of wuxia. Producers of wuxia depended on special effects to draw in larger audiences like the use of animation in fight scenes. The popularity of shenguai wuxia waned because of its cheap effects and fantasy cliches, paving way for the ris ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Standard Chinese
Standard Chinese ()—in linguistics Standard Northern Mandarin or Standard Beijing Mandarin, in common speech simply Mandarin, better qualified as Standard Mandarin, Modern Standard Mandarin or Standard Mandarin Chinese—is a modern Standard language, standardized form of Mandarin Chinese that was first developed during the Republic of China (1912–1949), Republican Era (1912‒1949). It is designated as the official language of Languages of China, mainland China and a major language in the United Nations languages, United Nations, Languages of Singapore, Singapore, and Languages of Taiwan, Taiwan. It is largely based on the Beijing dialect. Standard Chinese is a pluricentric language with local standards in mainland China, Taiwan and Singapore that mainly differ in their lexicon. Hong Kong written Chinese, used for formal written communication in Hong Kong and Macau, is a form of Standard Chinese that is read aloud with the Cantonese reading of characters. Like other Sinit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mandarin Chinese
Mandarin (; ) is a group of Chinese (Sinitic) dialects that are natively spoken across most of northern and southwestern China. The group includes the Beijing dialect, the basis of the phonology of Standard Chinese, the official language of China. Because Mandarin originated in North China and most Mandarin dialects are found in the north, the group is sometimes referred to as Northern Chinese (). Many varieties of Mandarin, such as those of the Southwest (including Sichuanese) and the Lower Yangtze, are not mutually intelligible with the standard language (or are only partially intelligible). Nevertheless, Mandarin as a group is often placed first in lists of languages by number of native speakers (with nearly one billion). Mandarin is by far the largest of the seven or ten Chinese dialect groups; it is spoken by 70 percent of all Chinese speakers over a large geographical area that stretches from Yunnan in the southwest to Xinjiang in the northwest and Heilongjiang in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Taiwanese Hokkien
Taiwanese Hokkien () (; Tâi-lô: ''Tâi-uân-uē''), also known as Taigi/Taigu (; Pe̍h-ōe-jī/Tâi-lô: ''Tâi-gí / Tâi-gú''), Taiwanese, Taiwanese Minnan, Hoklo and Holo, is a variety of the Hokkien language spoken natively by about 70%+ of the population of Taiwan. It is spoken by a significant portion of Taiwanese people descended from immigrants of southern Fujian during the Qing dynasty. It is one of the national languages of Taiwan. Taiwanese is generally similar to spoken Amoy dialect, Amoy Hokkien, Quanzhou dialect, Quanzhou Hokkien, and Zhangzhou dialect, Zhangzhou Hokkien, as well as their dialectal forms used in Southeast Asia, such as Singaporean Hokkien, Penang Hokkien, Philippine Hokkien, Medan Hokkien, & Southern Peninsular Malaysian Hokkien. It is Mutual intelligibility, mutually intelligible with Amoy dialect, Amoy Hokkien and Zhangzhou dialects, Zhangzhou Hokkien at the mouth of the Jiulong River (九龍) immediately to the west in mainland China and wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chinese Nationalism
Chinese nationalism () is a form of nationalism in the People's Republic of China (Mainland China) and the Republic of China on Taiwan which asserts that the Chinese people are a nation and promotes the cultural and national unity of all Chinese people. It is often equated with Han nationalism, although these two concepts are different. According to Sun Yat-sen's philosophy in the Three Principles of the People, Chinese nationalism should be a form of civic nationalism constructed on top of a united value, however this has not been fully recognized or applied in practice by successors. Modern Chinese nationalism emerged in the late Qing dynasty (1636–1912) in response to the humiliating defeat in the First Sino-Japanese War and the invasion and pillaging of Beijing by the Eight-Nation Alliance. In both cases, the aftermath forced China to pay financial reparations and grant special privileges to foreigners. The nationwide image of China as a superior Celestial Empir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chinese Civil War
The Chinese Civil War was fought between the Kuomintang-led government of the Republic of China and forces of the Chinese Communist Party, continuing intermittently since 1 August 1927 until 7 December 1949 with a Communist victory on mainland China. The war is generally divided into two phases with an interlude: from August 1927 to 1937, the KMT-CCP Alliance collapsed during the Northern Expedition, and the Nationalists controlled most of China. From 1937 to 1945, hostilities were mostly put on hold as the Second United Front fought the Japanese invasion of China with eventual help from the Allies of World War II, but even then co-operation between the KMT and CCP was minimal and armed clashes between them were common. Exacerbating the divisions within China further was that a puppet government, sponsored by Japan and nominally led by Wang Jingwei, was set up to nominally govern the parts of China under Japanese occupation. The civil war resumed as soon as it bec ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
A Borrowed Life
''A Borrowed Life'' () is a 1994 Taiwanese film and the directorial debut of Wu Nien-jen. The film depicts cultural and regime change in Taiwan. The film's running time is 167 minutes. Reviews by Ken Eisner in ''Variety'' and Stephen Holden in ''The New York Times'' noted that the film was autobiographical and told largely from the perspective of director Wu Nien-jen as a child. Eisner was critical of the film for its excessive focus on the father-son relationship, which left other characters' viewpoints unexplored. Chen Kuan-Hsing examined languages and dialects used in the film, linking differences to the cultural changes portrayed within, as Japanese rule was lifted and the Kuomintang assumed control of Taiwan. Selected cast *Tsai Chen-nan as Sega *Kerris Tsai as Sega's wife *Chung Yo-hong, Cheng Kwei-chung and Fu Jun as Wen Jian *Peng Wan-chun as sister *Lee Chuo-liang as brother *Akio Chen as Nomu, Sega's neighbor * as Sega's mother * as Sega's father *, Akiko, Nomu's wife ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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