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The Visible and the Invisible: Edward Yang’s Taipei Trilogy

  • Ivy I-chu Chang
Chapter

Abstract

This chapter focuses on Edward Yang’s Taipei Trilogy: A Confucian Confusion (1994), Mahjong (1996), and A One and a Two (2000) to investigate how Yang makes parody of melodrama with limited point of view, frame-within-the-frame, off-screen voice, dual sound, and image track and spatial layout to manipulate the audience’s gaze between visibility and invisibility, calling into mind that urban people in hustle and bustle only see half of the truth while ignoring what comes from behind.Yang utilizes Taipei’s conspicuous landmarks and the overlapping imagery of human figures and city space to suggest their intertwined relationship as both are part of the city’s vital exchange system. Yang also represents how technologies in a postmodern world interweave the virtual and the actual, shaping the protagonists’ perception and intervening their everyday lives.

Keywords

Edward Yang Hou Hsiao-hsien Taiwan cinema Capitalism Postmodern Time-space compression City film Confucianism Technology Metropolis Taipei Simulacra 

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Filmography

  1. A Confucian Confusion (獨立時代). Dir. Edward Yang (楊德昌). Perf. Chen Shiang-chyi (陳湘琪), Ni Shu-chun (倪淑君), Wang Wei-ming (王維明), Wang Bo-sen (王柏森), Danny Teng (鄧安寧), and Richie Li (李芹). Atom Films and Theatre, 1994. DVD.Google Scholar
  2. A One and a Two (一一). Dir. Edward Yang. Perf. Wu Nien-Jen (吳念真), Elaine Jin (金燕玲). Atom Films and Theatre, 2000. DVD.Google Scholar
  3. Mahjong (麻將). Dir. Edward Yang. Perf. Virginie Ledoyen, Ko Yu-luen (柯宇倫), Tang Tsung-sheng (唐從聖), Chang Chen (張震), and Wang Chi-tsan (王啟讚). Atom Films and Theatre, 1996. DVD.Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  • Ivy I-chu Chang
    • 1
  1. 1.National Chiao Tung UniversityHsinchuTaiwan

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