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Contemporary Sino-French CinemasAbsent Fathers, Banned Books, and Red Balloons$
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Michelle E. Bloom

Print publication date: 2016

Print ISBN-13: 9780824851583

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824851583.001.0001

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Intertextuality as Métissage in Tsai Ming-liang’s Sino-French Films

Intertextuality as Métissage in Tsai Ming-liang’s Sino-French Films

What Time Is It There? and Face

(p.72) Chapter 2 Intertextuality as Métissage in Tsai Ming-liang’s Sino-French Films
Contemporary Sino-French Cinemas

Michelle E. Bloom

University of Hawai'i Press

Intertertextuality constitutes a form of métissage since it facilitates connections by mixing two texts, creating hybrid forms. Auteur Tsai Ming-liang, culturally, linguistically and nationally métis, as a Malaysian born, Taiwanese by adoption, has directed two films whose Sino-Frenchness results primarily from intertextuality. What Time is it There? (2001) and Face (2009) pay homage to French New Wave director François Truffaut, in innovative fashion. In the earlier work, Tsai cites Truffaut’s New Wave hit, The 400 Blows, (1959) drawing a parallel between its protagonist, Antoinel Doinel and his main character, Hsiao-kang, both played by the respective directors’ signature actors (Jean-Pierre Léaud, Lee Kang-sheng,). Léaud’s cemetery cameo in What Time? suggests that the original French movement, supposedly dead, like the protagonist Hsiao-kang’s father, lives on. Face expands to Truffaut’s later films and refers intertextually to texts in arts other than cinema, establishing the Sino-French as a cross-media as well as cross-cultural phenomenon.

Keywords:   Paris, Taipei, Tsai Ming-liang, Lee Kang-sheng, Laetitia Casta, Zhang Lu, François Truffaut, Jeanne Moreau, French New Wave, intertextuality

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