This pioneering study of Hou Hsiao-hsien illuminates the many
distinctive achievements of Taiwan's famous director. His body of
work in films such as The Puppetmaster, City of Sadness,
and Flowers of Shanghai reflects a powerfully unique style
characterized by intricate lighting, improvisational acting, and
exceptionally long, static shots. James Udden argues that Hou's
films reflect Taiwan's peculiar historical and geographical
situation and could only have emerged there. Udden also examines
the regional impact Hou's films have had on other Asian directors
and cinema artists.
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