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Hou Hsiao-hsien Book and Retrospective Project

 
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yitian



Joined: 06 Jul 2011
Posts: 1847
Location: United States

PostPosted: Thu May 29, 2014 3:46 pm    Post subject: Hou Hsiao-hsien Book and Retrospective Project Reply with quote

Helga found this very interesting link about Hou Hsiao-hsien Retrospective from Austrian Film Museum Very Happy
http://www.filmmuseum.at/jart/prj3/filmmuseum/main.jart?rel=en&content-id=1219068743272&schienen_id=1396235522822&reserve-mode=active

Hou Hsiao-hsien The Complete Works



May 30 to June 22, 2014

Hou Hsiao-hsien is a singular phenomenon in modern cinema: a master of elliptical storytelling, silence, concentration – and, at the same time, a national poet and chronicler whose work often deals with the blind spots in the history of his country, Taiwan. While the former characterization provides links to the "quietists" of our era such as Béla Tarr or Pedro Costa, the latter places him in a rich cinematic tradition that reaches from John Ford to certain European auteurs of the 1960s and 1970s (e.g. Fassbinder, Wajda, or Saura). In the end, however, Hou cannot be compared with any of these: he is too discreet, while also robust and grounded – even in those moments when we can sense the wind of the world's creation and destruction blowing through his works.

Hou’s explorations of the past never take an “official” or conventional shape. A City of Sadness (1989), The Puppetmaster (1993) and Good Men, Good Women (1995), his trilogy on the history of Taiwan from the Japanese occupation until well into the newly-founded republic, work their magic through restraint: an aesthetic of echoes rather than declamation. This is equally true for A Time to Live and A Time to Die (1985), which tells the story of the years 1947-1960 through the eyes of a new citizen and is based on Hou’s own childhood memories. The greatness of these films is not simply due to their powerful representation of historical turning points, but to the way in which they meld the political and the personal – they show how the state determines the daily life of every citizen, and how at certain points in time an individual decision affects the lives of all.

Whereas A Time to Live and A Time to Die and A City of Sadness still cling to relatively straightforward narratives, Hou employs increasingly complex and self-reflexive strategies in his films of the early 90s. In The Puppetmaster, documentary-style conversations with the titular character and staged scenes from his life are women into a meditation about memory and remembrance; in Good Men, Good Women, the story of an anti-Japanese resistance fighter becomes the starting point for a multi-fractured essay about the (im)possibility of representing history: mechanisms of repression may remain similar but the suffering is always different. This singular blend of classicism, Brechtian modernism and the aesthetics of Ozu turned Hou Hsiao-hsien into an axiom of world cinema after 1989.

Yet, his genius was noticed much earlier. Shortly after his birth on April 8, 1947 in the Chinese province of Guangdong, the Hou family escaped from the civil war to Taiwan, which became the center of the Republic of China after the takeover by the Kuomintang in 1949. How the country must have appeared to an adolescent can be gathered from Hou’s loosely connected 1980s tetralogy: The Boys from Fengkuei (1983), A Summer at Grandpa’s (1984), the aforementioned A Time to Live and A Time to Die and Dust in the Wind (1986).

During this phase of self-discovery – after having directed three highly charming and popular "dramedies" – Hou focused on tales of childhood and youth, which made him an ideal fit for the nascent “New Wave” in Taiwanese cinema. Together with Wan Ren and Tseng Chuang-hsiang, he created the omnibus film The Sandwich Man (1983) – a manifesto-like work for an entire generation. His most important creative collaborators also stem from this era: screenwriter Chu Tien-wen (a key figure in Taiwanese literature), cinematographer Mark Lee (Li Pingbin), writer-director-producer Wu Nien-jen, and the puppet master Li Tien-lu.

After the two cycles, Hou's work set out on a more meandering, “experimental” path, including two excursions to other film industries – Café Lumière (2003), a Japanese-produced tribute to Ozu. and the Parisian fantasy Le Voyage du ballon rouge (2007). His oeuvre branched out, taking the measure of other spaces and times. The here and now – Taiwan’s countryside in Goodbye South, Goodbye (1996) and the quasi-futuristic big city of Millennium Mambo (2001) – are observed with the same care and intensity as the distant past. The brothels and opium dens of late 19th century Shanghai are the setting of what may be Hou’s greatest masterpiece, Flowers of Shanghai (1998).

In 2005, his cinema found its most condensed form in a single episodic work: Three Times is headlined by a pair of actors who play three couples in three different eras. Everything that motivates Hou comes together here – his fascination with film as an instrument of experiencing time differently; his deep love of pop culture; his struggle with the idea of fate (he does not believe in it, but sometimes its presence cannot be ignored); and finally his intuition that even though Taiwan is a special place on earth, it is also, ultimately, one of many such places on this earth.

The retrospective was organized by Richard I. Suchenski (Center for Moving Image Arts at Bard College) with the help of Amber Wu (Taipei Cultural Center, NY) and made possible by the generous support of the Ministry of Culture of the Republic of China (Taiwan). Following its launch at the Austrian Film Museum, the show will be presented by several museums and cinematheques in North America and Europe.

A new English-language book about the filmmaker, edited by Richard Suchenski, will be published on this occasion: “Hou Hsiao-hsien” – Volume 23 in the series of FilmmuseumSynemaPublications. It contains numerous essays by European, North American and Asian writers, including Olivier Assayas, Peggy Chiao, Jean-Michael Frodon, Jia Zhang-ke, Kent Jones, James Quandt and Shigehiko Hasumi, as well as conversations with Hou Hsiao-hsien and his closest collaborators.


Last edited by yitian on Thu May 29, 2014 3:49 pm; edited 1 time in total
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yitian



Joined: 06 Jul 2011
Posts: 1847
Location: United States

PostPosted: Thu May 29, 2014 3:48 pm    Post subject: Reply with quote

A little search revealed that the HHH Retrospective Project continues around world love
http://film.bard.edu/files/2012/01/RSuchensHHHProjectDec2013.pdf

Hou Hsiao-hsien Retrospective (May/June 2014 through Summer 2015)

Intemational retrospective organized by Richard I. Suchenski (Director, Center for Moving Image Arts at Bard College) in collaboration with Amber Wu (Taipei Cultural Center, NY) and the Ministry of Culture, Taiwan

Confirmed venues:
Austrian Film Museum (Vienna, Austria) [May/June 2014]
Museum of the Moving Image (Astoria, New York) [September 2014]
Center for Moving Image Arts, Bard College (Annandale-on-Hudson, New York)[September/October 2014]
Haruard Film Archive (Cambridge, Massachusetts) [October 2014]
Pacific Film Archive (Berkeley, California) [October/November 2014]
Museum of Fine Arts, Houston (Texas) [November 2014]
Freer and Sackler Galleries, Smithsonian Institution (Washington D.C.) [December 2014]
Pacific Cinematheque (Vancouver, Canada) [January 2015]
Toronto International Film Festival Cinematheque (Canada) [February 2015]
National Museum of Singapore (Singapore) [Spring 2015]
British Film Institute (London) [Summer 2015]
Sao Paulo International Film Festival [Fall2015]

Probable:
National Film Center, National Museum of Modern Art (Tokyo) [2015]
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Safran



Joined: 22 Mar 2006
Posts: 2433
Location: Austria

PostPosted: Fri May 30, 2014 12:34 am    Post subject: Reply with quote

Many thanks, Yitian Giving a kiss
....for posting....and your time-consuming search for the dates/ locations of the later world-tour of this HHH retrospective ! Computer flower

Helga
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yitian



Joined: 06 Jul 2011
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Location: United States

PostPosted: Thu Aug 28, 2014 2:24 pm    Post subject: HHH films are coming to New York Reply with quote

THE FILMS OF HOU HSIAO-HSIEN, A COMPLETE RETROSPECTIVE OF THE TAIWANESE DIRECTOR, DEBUTS IN NEW YORK @ Museum of The Moving Image

http://www.movingimage.us/films/2014/09/12/detail/also-like-life-the-films-of-hou-hsiao-hsien-2/

RETROSPECTIVE
Also like Life: The Films of Hou Hsiao-hsien
September 12–October 17



Hou Hsiao-hsien, the leading figure of the Taiwanese New Wave, is one of the most important and influential filmmakers to emerge over the past three decades. His sensuous, richly textured work, marked by elegantly staged long takes, largely static camera positions, and a radically elliptical approach to storytelling, is instantly recognizable in such widely acclaimed movies as Flowers of Shanghai, The Puppetmaster, Café Lumière, A City of Sadness, Dust in the Wind, and Flight of the Red Balloon. The retrospective Also like Life: The Films of Hou Hsiao-hsien includes all of Hou’s seventeen feature films as director, all shown on film (including new 35mm prints). The series will also include short films directed by Hou Hsiao-hsien, and a sidebar program of related films including Olivier Assayas’s intimate documentary HHH: A Portrait of Hou Hsiao-hsien, Edward Yang’s seminal Taipei Story (starring, and co-written by, Hou), and more.

This internationally touring retrospective was organized by Richard I. Suchenski (Director, Center for Moving Image Arts at Bard College) in collaboration with Amber Wu (Taipei Cutural Center, NY) and the Ministry of Culture of the Republic of China (Taiwan). The book Hou Hsiao-hsien (Vienna: Österreichisches Filmmuseum and New York: Columbia University Press, 2014) is released in conjunction with this retrospective.



Screening & Live Event

Flowers of Shanghai
Friday, September 12, 7:00 p.m. Screening


Cute Girl
Saturday, September 13, 2:30 p.m. Screening

HHH: A Portrait of Hou Hsiao-hsien
Saturday, September 13, 4:30 p.m. Screening & Live Event

The Puppetmaster
Saturday, September 13, 7:00 p.m. Screening

A Summer at Grandpa’s
Sunday, September 14, 2:30 p.m. Screening

Cheerful Wind
Sunday, September 14, 4:30 p.m. Screening & Live Event

Three Times
Sunday, September 14, 7:00 p.m. Screening

Millennium Mambo
Friday, September 19, 7:30 p.m. Screening

Good Men, Good Women
Saturday, September 20, 2:30 p.m. Screening

The Boys from Fengkuei
Sunday, September 21, 5:00 p.m. Screening

Taipei Story
Sunday, September 21, 7:30 p.m. Screening

Café Lumière (Kohi jiko)
Friday, September 26, 7:00 p.m. Screening

The Green, Green Grass of Home
Saturday, September 27, 2:30 p.m. Screening

Flight of the Red Balloon (Le voyage du ballon rou…
Sunday, September 28, 4:30 p.m. Screening

A Borrowed Life
Sunday, September 28, 7:00 p.m. Screening

A Time to Live and a Time to Die
Friday, October 3, 7:00 p.m. Screening

Daughter of the Nile
Saturday, October 4, 2:30 p.m. Screening & Live Event

The Sandwich Man
Sunday, October 5, 5:00 p.m. Screening

Growing Up
Sunday, October 5, 7:30 p.m. Screening

Goodbye South, Goodbye
Friday, October 10, 7:00 p.m. Screening & Live Event

Dust in the Wind
Saturday, October 11, 2:30 p.m. Screening

A City of Sadness
Sunday, October 12, 6:00 p.m. Screening


I Wish I Knew
Friday, October 17, 7:00 p.m.
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Safran



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PostPosted: Fri Aug 29, 2014 2:11 am    Post subject: Reply with quote

Hold my fingers crossed, you'll manage to watch one or two ....at least Smile
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yitian



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PostPosted: Fri Aug 29, 2014 2:43 pm    Post subject: Reply with quote

Very Happy
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