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Taiwan Pulp! The Emergence and Consumption of Taiwan Exploitation Film in the Trans-Asian Cultural Cold War (1970s-1980s).
紀錄類型:
書目-電子資源 : Monograph/item
正題名/作者:
Taiwan Pulp! The Emergence and Consumption of Taiwan Exploitation Film in the Trans-Asian Cultural Cold War (1970s-1980s)./
作者:
Cho, Ting-Wu.
面頁冊數:
1 online resource (299 pages)
附註:
Source: Dissertations Abstracts International, Volume: 84-09, Section: A.
Contained By:
Dissertations Abstracts International84-09A.
標題:
Film studies. -
電子資源:
http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29998722click for full text (PQDT)
ISBN:
9798374418262
Taiwan Pulp! The Emergence and Consumption of Taiwan Exploitation Film in the Trans-Asian Cultural Cold War (1970s-1980s).
Cho, Ting-Wu.
Taiwan Pulp! The Emergence and Consumption of Taiwan Exploitation Film in the Trans-Asian Cultural Cold War (1970s-1980s).
- 1 online resource (299 pages)
Source: Dissertations Abstracts International, Volume: 84-09, Section: A.
Thesis (Ph.D.)--New York University, 2023.
Includes bibliographical references
Taiwan Pulp, also known as the Taiwan "Social Realist film," is a group of hybrid exploitation films produced from the late 1970s to mid-1980s Taiwan. Capitalizing on the growing consumerism, the global exploitation film frenzy, and social unrest towards the end of the martial law period, Taiwan Pulp swept the dwindling film market. Within the time span of 5 years (1979 to 1983), at least 179 Taiwan Pulp films were produced. However, the highly sensationalized contents in Taiwan Pulp films, ranging from crime, violence, sex, to anticommunism, were not favored by the film censorship board at the time and were scorned by most film critics and scholars.To address the occlusion in Taiwan cinema studies, I situate my studies of Taiwan Pulp film within the trans-Asian cinematic network and reexamine the connections between transnational geopolitics and national film history. To be specific, the dissertation investigates the emergence of "Taiwan Pulp film" and its relationship with the cinema cultures and industries as a consequence of the geopolitics shaped by the Cold War. The dissertation is divided into two parts. The first and second chapters situate Taiwan Pulp film in the shifting trans-Asian geopolitics in the late Cold War period. I examine the transitions in socio-economic structure, media culture, film industry that gave rise to Taiwan Pulp and explores the relations between Taiwan Pulp film, the underground exhibition practice of erotica, and the KMT government's cultural policy. The third and fourth chapters deal with two main subgenres of Taiwan Pulp-the gangster film and woman's revenge film-in relations with gender, by analyzing how Taiwan's colonial history and local cultural pathos are interwoven into the onscreen place-based masculinity in the gangster film and contextualizing the transformation of the Taiwan Pulp female star images within a process of struggle and negotiation between the grim social and political reality and the booming nativist and feminist activism in the 1980s.
Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023
Mode of access: World Wide Web
ISBN: 9798374418262Subjects--Topical Terms:
2122736
Film studies.
Subjects--Index Terms:
Cold WarIndex Terms--Genre/Form:
542853
Electronic books.
Taiwan Pulp! The Emergence and Consumption of Taiwan Exploitation Film in the Trans-Asian Cultural Cold War (1970s-1980s).
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Source: Dissertations Abstracts International, Volume: 84-09, Section: A.
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Taiwan Pulp, also known as the Taiwan "Social Realist film," is a group of hybrid exploitation films produced from the late 1970s to mid-1980s Taiwan. Capitalizing on the growing consumerism, the global exploitation film frenzy, and social unrest towards the end of the martial law period, Taiwan Pulp swept the dwindling film market. Within the time span of 5 years (1979 to 1983), at least 179 Taiwan Pulp films were produced. However, the highly sensationalized contents in Taiwan Pulp films, ranging from crime, violence, sex, to anticommunism, were not favored by the film censorship board at the time and were scorned by most film critics and scholars.To address the occlusion in Taiwan cinema studies, I situate my studies of Taiwan Pulp film within the trans-Asian cinematic network and reexamine the connections between transnational geopolitics and national film history. To be specific, the dissertation investigates the emergence of "Taiwan Pulp film" and its relationship with the cinema cultures and industries as a consequence of the geopolitics shaped by the Cold War. The dissertation is divided into two parts. The first and second chapters situate Taiwan Pulp film in the shifting trans-Asian geopolitics in the late Cold War period. I examine the transitions in socio-economic structure, media culture, film industry that gave rise to Taiwan Pulp and explores the relations between Taiwan Pulp film, the underground exhibition practice of erotica, and the KMT government's cultural policy. The third and fourth chapters deal with two main subgenres of Taiwan Pulp-the gangster film and woman's revenge film-in relations with gender, by analyzing how Taiwan's colonial history and local cultural pathos are interwoven into the onscreen place-based masculinity in the gangster film and contextualizing the transformation of the Taiwan Pulp female star images within a process of struggle and negotiation between the grim social and political reality and the booming nativist and feminist activism in the 1980s.
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