英文摘要 |
This paper use the concept of “performing Chineseness” to read closely Chiu Kang-Chien’s screenwriting of Taiwan and Hong Kong cinemas, and illustrates his active participation within the dynamics of the “cinematic Cold War,” regional politics and Cold War ideological formations. In recent years, more and more autobiographical materials had been exposed that provided rich resources for imagining and portraying Chiu as a talented artist who carries multiple hats as a poet, a playwrite, and a film script writer. However, compared to this fruitful discussion of Chiu’s aesthetic creativity, the close relations between his works, Chineseness, and Cold War politics are still unexplored. In fact, as a significant figure in Taiwan and Hong Kong film industries, Chiu is a good case to study especially for mapping the trans-local interaction mediated by Cold War politics. This paper first outline the concept of “Cold War- Civil War institution of cinema” that points to the strategic and contingent collaboration between the KMT party-state and the Hong Kong film tycoons. Then it llustrate how Chiu negotiated with various forces through performing Chineseness in his films throughout the Cold War era, to identify how these films involved in the transformational moments of this institution of cinema. |