This chapter proposes that Tsai Ming-liang's films are uniquely placed to illuminate the relationship between slowness and cinephilia, and that this relationship is cast within the notion of film authorship and shot through with a dose of nostalgia. By bringing authorship into the discussion, it is noted that the auteur, a hotly debated figure in the discipline of film studies, must not be taken as a self-evidential, unproblematic category of analysis. Indeed, auteur theory should be much more than a theory about film connoisseurship and the establishment of a pantheon of directors through textual analysis. Rather, it can also be, in the case of Tsai, a source of imagination not only for the construction of one's own auteur status but also for incorporation into one's filmmaking practices and film diegesis. Tsai's cinema offers not merely a view but also slowness as a point of view.
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