The legacy of New Wave
Focusing on the case of The Furthest End Awaits
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Published online: 30 April 2024
https://doi.org/10.54754/incontext.v4i1.74
https://doi.org/10.54754/incontext.v4i1.74
Abstract
This article delves into the influence of transnationalism on Taiwan New Cinema, focusing on the works of female director Chiang Hsiu- Chiung, particularly her Japanese language film, and the femme-centric drama The Furthest End Awaits (2014). It is discussing a film within the context of global art cinema, particularly highlighting its significance in attracting audiences interested in arthouse films. The film seems to be positioned as part of the legacy of the New Wave in Taiwan cinema, suggesting that it shares thematic, stylistic, or historical connections with the innovative and influential filmmaking movement that emerged in Taiwan. Moreover, Chiang’s film explores contemporary kinship within the framework of global art cinema, asserting that Taiwan New Cinema has established itself as a significant presence in the arthouse film festival circuit since the 1980s.
One of the defining characteristics of Taiwan New Cinema is its utilization of long takes, deliberate spatial and depth composition, incorporation of documentary elements depicting everyday life, and the dialectical interplay between sound and visuals. These techniques contribute to the films’ self- reflexivity and liminality, enhancing their artistic and narrative depth. Moreover, the article investigates how Chiang’s films empower women, reflecting the influence of transnational feminism in East Asia. Through a structural analysis, it highlights the reversal of roles between the main characters, Misaki and Eriko, and the establishment of connections with a broader network of women. This portrayal affirms a sense of sisterhood and mutual support, enriching the narrative with engaging interpersonal dynamics. Furthermore, the article explores how the dynamics of space within the films contribute to the representation of sisterhood, intersecting with themes of trauma, memory, and embodiment. By examining these elements, the article offers insights into the complex interplay between transnationalism, feminism, and cinematic representation within Taiwan New Cinema.
摘要
本文主要討論跨國主義對台灣新電影的影響，尤其聚焦於女導演姜秀瓊的作 品，特別是她的日語電影以及以女性為中心的劇情片《寧靜咖啡店之歌》（2014 年）。本文聚焦此電影在全球藝術電影的背景下，突顯了它吸引藝術片觀眾的重 要性。這部電影也可被視為台灣電影新浪潮的遺緒，暗示它與富有創新力和啟蒙 性的台灣新電影在主題、風格或歷史上有所連結。此外，姜秀瓊的電影探索了當 代家族關係在全球藝術電影框架內的發展，回應自1980年代以來，台灣新電影已 在國際電影節中建立了重要地位。
台灣新電影的一個明顯特徵是其利用長鏡頭、空間調度和深度構圖、融入描繪 日常生活的紀錄片元素以及聲音和視覺之間的辯證互動。這些技巧有助於電影的 反身性和邊界性，強化了其藝術和敘事深度。此外，文章探討了姜秀瓊的電影如 何賦予女性力量，體現了東亞跨國女性主義的影響。通過結構性分析，它突出了 主要角色吉田岬與繪理子之間角色的轉變以及女性網絡的聯繫。這種描繪肯定了 一種姐妹情誼的感覺結構，豐富了故事情節與引人入勝的人際動態。此外，本文 探討了電影中空間動態如何讓姊妹情誼與創傷、記憶和身體的主題有機作用。最 終，本文提供了有關跨國主義、女性主義和台灣新電影中的影像再現之間復雜交 錯的座標。
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