Although cinema has been transnational since its inception, contemporary Sino-French film exemplifies the cinematic hybridity of the contemporary age of globalization. The Sino-French comprises crossover between the Sinophone and the Francophone. However, Taiwanese and mainland helmed films since 2000 provide the focus here and connect with metropolitan France and more specifically Paris, not the broader French speaking world. Contemporary Sino-French Cinemas calls for the movement away from Orientalism and Occidentalism, myths and stereotypes. Through the tropes of métissage, intertextuality, ... More

Although cinema has been transnational since its inception, contemporary Sino-French film exemplifies the cinematic hybridity of the contemporary age of globalization. The Sino-French comprises crossover between the Sinophone and the Francophone. However, Taiwanese and mainland helmed films since 2000 provide the focus here and connect with metropolitan France and more specifically Paris, not the broader French speaking world. Contemporary Sino-French Cinemas calls for the movement away from Orientalism and Occidentalism, myths and stereotypes. Through the tropes of métissage, intertextuality, the makeover, translation and imitation, the Sinophone connects with “Frenchness.” The first three tropes provide optics for examining films by Taiwanese-connected directors Cheng Yu-chieh, Tsai Ming-liang and Hou Hsiao-hsien in Part I, focused on self-reflexive arthouse work influenced by the French New Wave and other French precursors. Part 2 analyzes Chinese helmed films by Dai Sijie, Emily Tang Xiaobai and Dai Sijie which critique mainland socioeconomics and politics through the portrayal of France. Increasing the national, cultural and linguistic diversity of the Francophone dimension of the Sino-French and calling attention to Sinophone-directed film with French connections expands the scope of Francophone studies and Sinophone Studies, as the Sino-French contributes to transnational film studies.