“I Can Hear the Children Making Noise”, or On Sadness and Affection in Tsai Ming-liang’s “Vive L’amour”
Abstract
The style of Tsai Ming-liang’s films is usually termed as contemplative. The films are composed of long static shots; have no action in the traditional sense of the word; focus on alienated and lonely characters lost in the hustle and bustle of city life. Kosińska tries to prove in her analysis of Vive L’amour that the Taiwanese director should not be perceived only as a sophisticated pessimist. As the possibility of communication between his heroes is absent, Tsai Ming-liang offers it to the viewer. Being able to unhurriedly observe the private life of the characters, the viewer bestows warmth and affection on them. Kosińska emphasizes the specific aesthetics of Tsai Ming-liang’s films. The film director bypasses the rules of classical cinema to focus on a description of the seemingly irrelevant situations that are empty from the point of view of traditional narrative.
Keywords:
Tsai Ming-liang, sadness, lonelinessReferences
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Authors
Karolina Kosińskakwartalnik.filmowy@ispan.pl
Institute of Art, Polish Academy of Sciences Poland
Absolwentka kulturoznawstwa (specjalność filmoznawcza) w Instytucie Sztuk Audiowizualnych Uniwersytetu Jagiellońskiego. Pracę magisterską dotyczącą form buntu w kinie brytyjskim obroniła pod kierunkiem prof. dr. hab. Tadeusza Lubelskiego w 2002 roku. Od 2003 roku redaktorka „Kwartalnika Filmowego”.
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Copyright (c) 2005 Karolina Kosińska
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