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Tagged Hou Hsiao-hsien

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Hou Hsiao-hsien

What is Said and Left Unsaid in Hou Hsiao-hsien’s Flowers of Shanghai

Christopher Lupke
March 2012
CTEQ Annotations on Film
Hou Hsiao-hsien’s Hai shang hua (Flowers of Shanghai, 1998) is a film constructed like no other: it doesn’t follow the conventions of gradual and deliberate narrative unfolding; it doesn’t vary sets greatly; it...
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Situations over Stories: Café Lumière and Hou Hsiao-hsien

Tony McKibbin
May 2006
Special Dossiers, Spotlight on Hou Hsiao-hsien
Made in homage to the cinema of Ozu, McKibbin argues that the film is far more than a simple tribute to the legacy of the Japanese master.
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Smoke Gets in Your Eyes: Hou Hsiao-hsien’s Optics of Ephemerality

Charles R. Warner
May 2006
Special Dossiers, Spotlight on Hou Hsiao-hsien
Detailed analysis of the poetics of Hou’s celebrated observational long-take aesthetic.
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Hou Hsiou-hsien’s Urban Female Youth Trilogy

Daniel Kasman
May 2006
Special Dossiers, Spotlight on Hou Hsiao-hsien
Kasman states the case for considering Daughter of the Nile, Good Men, Good Woman and Millennium Mambo as a ‘trilogy on the trails and tribulations of modern, urban, female Taiwanese youth’.
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The Complexity of Minimalism: Hou Hsiao-hsien’s Three Times

Dag Sødtholt
May 2006
Special Dossiers, Spotlight on Hou Hsiao-hsien
Arguably, after a period of transition represented by Millennium Mambo and Café Lumière, Hou’s Three Times may represent a new plateau in his work.

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