Format: Paperback
ISBN: 9782360570652
Collection: Études formosanes
12.1 x 19 cm
Weight: 370 gr
Pages: 370
First publication: 02/03/2016
Last printing: 03/2016
CLIL: 3689
BISAC: LCO010000

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Rétro Taiwan

Le temps retrouvé dans le cinéma sinophone contemporain

Preface : Stéphane Corcuff

Analysis of vintage taste in sinophone cinema. The author synthesizes the major works that have studied this movement, more complex than just mere nostalgia, and seeks to identify what Taiwanese, Hong Kong or Chinese people try to express based on detailed analyzes of Hou Hsiao-Hsien, Edward Yang or Tsai Ming-Liang's movies.

Paper book


Corrado Neri

Corrado Neri holds a doctorate in Asian cinematography and a lecturer at the University of Lyon 3. His research focuses on Japanese, Chinese and Taiwanese cinema and particularly focuses on the political dimension of interculturality.

Stéphane Corcuff

Stéphane Corcuff (born in Brest in 1971) obtained his doctorate in 2000 from the Institute of Political Studies in Paris. A teacher-researcher specializing in the Chinese world, he particularly studies Taiwan - where he lived for long periods - from the perspective of the identity dynamics of its margins, its geopolitical history and its political recomposition. Director of the Taipei Branch of CEFC 2013 to 2017, he is a member of the editorial board of "China Perspectives".


Préface (Preface)
Introduction (Introduction)
Vintage et rétro dans la culture visuelle contemporaine (Vintage and retro in contemporary visual culture)
Le rétro, qu’est-ce que c’est ? (What is retro ?)
Les cultures rétro à Taiwan (Retro cultures in Taiwan)
Le rétro dans le reste du monde (Retro in the rest of the world)
Le cinéma rétro à Taiwan (Retro cinema in Taiwan)
Liminalités sinophones : Taiwan, Chine, cinéma(s) (Chinese-speaking liminalities : Taiwan, China, cinema(s))
Chapitre premier (First Chapter)
Le rétro d’auteur : mémoire personnelle et mémoire collective chez Hou Hsiao-hsien et Edward Yang  (The author's retro : personal memory and collective memory by Hou Hsiao-hsien and Edward Yang)
Vintage populaire, vintage d’auteur (Popular vintage, author's vintage)
L’histoire du rétro : Three Times de Hou Hsiao-hsien (The history of retro : Three Times by Hou Hisao-hsien)
Three Times (Trois époques) (Three Times (Three eras)
Un meurtre vintage (A vintage murder)

Chapitre II (Chapter II-
Cinéma et histoire : Mémoire personnelle et mémoire collective dans le cinéma commercial contemporain (Cinema and history : Personal memory and collective memory in contemporary commercial cinema)
La séduction du passé : Histoire(s) de Taiwan (The seduction of the past : Storie(s) of Taiwan)
L’obsession vintage : les films (The vintage obsession : movies)
Formes, narrations et simulacres  (Shapes, narratives and simulacrum)
Objets et images : la mémoire collective (Objects and images : the collective memory)
La mode rétrocosmopolite dans le monde (The retrocosmopolite trend in the world)
L’utilisation mercantile du sentiment communautaire (The mercantile use of communal spirit)
Perspectives chinoises 1 (Chinese perspectives 1)
Chapitre III (Chapter III)
Échos des contestations (Echos of the disputes)
Girls and boys sur les barricades (Girls and boys ont the barricades)
Les bombes au riz (The rice bombs)
Perspectives chinoises 2 (Chinese perspectives 2)
Chapitre IV (Chapter IV)
Nostalgie, citations et fétichisme dans le cinéma autoréférentiel (Nostalgia, quotes, fetishism in the self-referential cinema)
Monga/Monga : quartier urbain, quartier cinématographique (Monga/Monga : urban district, cinematrographic district)
Les fantaisies musicales de Jay Chou (Jay Chou's musical fantasies)
L’amour, toujours ? (Love, forever ?)

Chapitre V (Chapter V)
Monstres et vampires (Monstrers and vampires)
Rigor Mortis, l’héritage panasiatique des vampires hongkongais (Rigor Mortis, the Pan-Asian heritage of Hongkongese vampires)
Un détour par Mr. Vampire (A detour with Mr. Vampire)
A touch of theory (A touch of theory)
Retour à Rigor Mortis (Back to Rogir Mortis)
Le faux fantôme en Chine pop (Uncool China) (The fake ghost in Pop China (Uncool China))
Chapitre VI (Chapter VI)
Les superhéros du monde sinophone (Superheroes in the Chinese-speaking world)
Héros, superhéros et guerriers (Heroes, superheroes and fighters)
Perspectives chinoises 3 (Chinese perspective 3)
Métissages taïwanais (Taiwanese diveristy)
Chapitre VII (Chapter VII)
Écrans passés, dispositifs futurs : Tsai Ming-liang entre cinéma et installation (Past screens, future devices : Tsai Ming-liang between cinema and instalaltion)
Adieu, Vieux Dragon ! (Farewell, Old Dragon !)
Le rêve du passé (The dream of the past)
Le cinéma en dur (Solid cinema)
Le fantôme dans la machine (The ghost in the machine)
Conclusion (Conclusion)
Bibliographie (Bibliography)
Filmographie (Filmography)
Derrière Taiwan, Formose (Behind Taiwan, Formosa)
Postface de Stéphane Corcuff (Postface by Stéphane Corcuff)