Cahiers du cinéma No. 215 - September 1969 (1969-09)Cahiers du cinéma
Overview
If the identity of Cahiers du Cinéma was built alongside the advent of French New Wave, the magazine also contributed to publicizing the various new waves that emerged starting in the 1950s until the end of the 20th century, particularly in Asia.
Japanese New Wave
Unlike the other movements discussed here that happened at a later date, Japanese New Wave was contemporary alongside its French counterpart, and brought together moviemakers who wanted to move away from sword movies and classic post-war melodramas.
Cahiers du cinéma No. 224 - October 1970 (1970-10)Cahiers du cinéma
Very politicized, this type of cinema highlighted underrepresented and marginalized situations and characters (Funeral Parade of Roses by Toshio Matsumoto, 1969) and shook up the country's moral consensus by evoking diverse relationships in terms of gender, sexuality, and commitment (Eros + Massacre by Yoshishige Yoshida, 1969).
Some moviemakers also worked to renew the idea and practice of the documentary (Susumu Hani), particularly to evoke the memory of war (Night and Fog in Japan by Nagisa Oshima, 1969) or ecological trauma (The Shiranui Sea by Noriaki Tsuchimoto, 1975).
Hong Kong New Wave
In the 1970s and 80s, moviemakers wishing to free themselves from the shackles of the Shaw Brothers' industrial production launched independent productions in Cantonese, which were often very political and breathed new life into genre cinema.
Cahiers du cinéma n°351 - September 1983 (1983-09)Cahiers du cinéma
Tsui Hark, Ann Hui, and John Woo, moviemakers nourished by Western culture, would in turn become a significant source of inspiration for a number of American directors, with Quentin Tarantino first in line.
Taiwanese New Cinema
Caught between the Hong Kong industry and Japanese cultural influence, Taiwanese cinema reinvented itself in the 1980s thanks to Hou Hsiao-hsien, Edward Yang, and screenwriter Wu Nien Jen.
Cahiers du cinéma n°512 - April 1997 (1997-04)Cahiers du cinéma
Through intimate and multilingual narratives, the movies evoked the tumultuous history of the island of Taiwan marked by multiple invasions (such as in Dust in the Wind, 1986 and A City of Sadness, 1989 by Hou Hsiao-hsien),
the upheaval represented by opening up to American capital, and the entry of Taiwan into globalized modernity (such as in Taipei Story, 1985 and Vive l'amour [Long Live Love, 1994] by Tsai Ming-liang, a moviemaker who is more closely linked to Second Wave cinema).
South Korean New Wave
Thanks to political liberalization at the end of the 1980s and economic support from the state through the Korean Film Council (KOFIC), a new cinema emerged and would boost Korean hallyuwood with its own more auteur-esque approach.
Fifty Years of Korean Cinema: Retrospective Catalog, Cinémathèque Française. Paris, January 6 - February 26, 2005 (2005-01/2005-02)Cahiers du cinéma
Moviemakers such as Park Chan-wook (Old Boy, 2003), Kim Jee-woon (A Tale of Two Sisters, 2003) or Bong Joon-ho (The Host, 2006) achieved national and international fame, by carving out a critical space within a very polished genre cinema.
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