Elvis, allow me to introduce myself : American music and neocolonialism in Taiwan cinema
Document Type
Journal article
Source Publication
Modern Chinese Literature and Culture = 中國現代文學
Publication Date
1-1-2013
Volume
15
Issue
1
First Page
1
Last Page
28
Publisher
Foreign Language Publications
Abstract
Music in Edward Yang's film oeuvre is characterized by a wide variety of styles. Disparity and disjunction seem to be key to Edward Yang's work. The disparity between the English and Chinese titles in several of his films points to Yang's embodiment of a hybrid identity: American, Chinese mainland, and Taiwan cultures. Born in Shanghai of Hakka origin, raised in Taiwan as a second-generation mainland emigre, and trained and employed as an engineer in the United States, Yang shuttles between his Chinese upbringing and a cosmopolitan sensibility. Compared to the films of another Taiwan director, Hou Hsiao-hsien, who prefers rural motifs, Yang's works are marked by urban themes and, more important, "glocal," hybrid cultural sentiments and wry humor.
Print ISSN
15209857
Publisher Statement
Copyright © 2003 Modern Chinese Literature and Culture
Access to external full text or publisher's version may require subscription.
Full-text Version
Publisher’s Version
Language
English
Recommended Citation
Yeh, E. Y.-y. (2003). Elvis, allow me to introduce myself: American music and neocolonialism in Taiwan cinema. Modern Chinese Literature and Culture, 15(1), 1-28. Retrieved from http://www.jstor.org/stable/41490892