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...
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.
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.
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’.
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.
