The Many Faces Of Tsai Ming-liang: Cinephilia, The French Connection, And Cinema In The Gallery
The Malaysia-born, Taiwan-based flmmaker Tsai Ming-liang's Visage (2009) is a flm that was commissioned by the Louvre as part of its collection. His move to the museum space raises a number of questions: What are some of the implications of his shift in practice? What does it mean to have a...
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| Format: | Article |
| Language: | English |
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Penerbit Universiti Sains Malaysia (USM Press)
2017
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| Online Access: | http://eprints.usm.my/41277/ http://eprints.usm.my/41277/1/IJAPS-132_ART7.pdf |
| _version_ | 1848879246528741376 |
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| author | Tsai, Beth |
| author_facet | Tsai, Beth |
| author_sort | Tsai, Beth |
| building | USM Institutional Repository |
| collection | Online Access |
| description | The Malaysia-born, Taiwan-based flmmaker Tsai Ming-liang's Visage (2009) is a
flm that was commissioned by the Louvre as part of its collection. His move to the
museum space raises a number of questions: What are some of the implications of
his shift in practice? What does it mean to have a flm, situated in art galleries or
museum space, invites us to think about the notion of cinema, spatial confguration,
transnational co-production and consumption? To give these questions more
specifcity, this article will look at the triangular relationship between the flmmaker's
prior theatre experience, French cinephilia's influence, and cinema in the gallery,
using It's a Dream (2007) and Visage as two case studies. I argue Tsai's flm and
video installation need to be situated in the intersection between the moving images
and the alternative viewing experiences, and between the global and regional flm
cultures taking place at the theatre-within-a-gallery site. While Tsai's slow flm
aesthetics can be traced in relation to his prior theatre practice, his installation and
flm in the gallery are grounded in the belief that cinema needs to be resurrected in
the museum. The interrelations between Tsai's video installation and feature flms
show that they originate from, and are still part of, love for cinema. Tsai's move to
the museum space exemplifes the possibility for the future of cinema: it may lose its
exclusivity of the collective experience in the movie theatre, yet still privileges the
architectural situation of cinema. |
| first_indexed | 2025-11-15T17:44:11Z |
| format | Article |
| id | usm-41277 |
| institution | Universiti Sains Malaysia |
| institution_category | Local University |
| language | English |
| last_indexed | 2025-11-15T17:44:11Z |
| publishDate | 2017 |
| publisher | Penerbit Universiti Sains Malaysia (USM Press) |
| recordtype | eprints |
| repository_type | Digital Repository |
| spelling | usm-412772018-08-10T08:17:04Z http://eprints.usm.my/41277/ The Many Faces Of Tsai Ming-liang: Cinephilia, The French Connection, And Cinema In The Gallery Tsai, Beth P1-1091 Philology. Linguistics(General) The Malaysia-born, Taiwan-based flmmaker Tsai Ming-liang's Visage (2009) is a flm that was commissioned by the Louvre as part of its collection. His move to the museum space raises a number of questions: What are some of the implications of his shift in practice? What does it mean to have a flm, situated in art galleries or museum space, invites us to think about the notion of cinema, spatial confguration, transnational co-production and consumption? To give these questions more specifcity, this article will look at the triangular relationship between the flmmaker's prior theatre experience, French cinephilia's influence, and cinema in the gallery, using It's a Dream (2007) and Visage as two case studies. I argue Tsai's flm and video installation need to be situated in the intersection between the moving images and the alternative viewing experiences, and between the global and regional flm cultures taking place at the theatre-within-a-gallery site. While Tsai's slow flm aesthetics can be traced in relation to his prior theatre practice, his installation and flm in the gallery are grounded in the belief that cinema needs to be resurrected in the museum. The interrelations between Tsai's video installation and feature flms show that they originate from, and are still part of, love for cinema. Tsai's move to the museum space exemplifes the possibility for the future of cinema: it may lose its exclusivity of the collective experience in the movie theatre, yet still privileges the architectural situation of cinema. Penerbit Universiti Sains Malaysia (USM Press) 2017 Article PeerReviewed application/pdf en http://eprints.usm.my/41277/1/IJAPS-132_ART7.pdf Tsai, Beth (2017) The Many Faces Of Tsai Ming-liang: Cinephilia, The French Connection, And Cinema In The Gallery. International Journal of Asia Pacific Studies (IJAPS), 13 (2). pp. 141-160. ISSN ISSN: 1823-6243 http://ijaps.usm.my/wp-content/uploads/2017/07/IJAPS-132_ART7.pdf |
| spellingShingle | P1-1091 Philology. Linguistics(General) Tsai, Beth The Many Faces Of Tsai Ming-liang: Cinephilia, The French Connection, And Cinema In The Gallery |
| title | The Many Faces Of Tsai Ming-liang:
Cinephilia, The French Connection,
And Cinema In The Gallery |
| title_full | The Many Faces Of Tsai Ming-liang:
Cinephilia, The French Connection,
And Cinema In The Gallery |
| title_fullStr | The Many Faces Of Tsai Ming-liang:
Cinephilia, The French Connection,
And Cinema In The Gallery |
| title_full_unstemmed | The Many Faces Of Tsai Ming-liang:
Cinephilia, The French Connection,
And Cinema In The Gallery |
| title_short | The Many Faces Of Tsai Ming-liang:
Cinephilia, The French Connection,
And Cinema In The Gallery |
| title_sort | many faces of tsai ming-liang:
cinephilia, the french connection,
and cinema in the gallery |
| topic | P1-1091 Philology. Linguistics(General) |
| url | http://eprints.usm.my/41277/ http://eprints.usm.my/41277/ http://eprints.usm.my/41277/1/IJAPS-132_ART7.pdf |