We have all come to admire the films of Hou Hsiao-hsien.
We appreciate the work of Edward Yang, Ang Lee and others. In today's male-dominated
world, women have a much harder time and need to be twice as good as men
in order to be recognized. Undoubtedly, in a "market economy," this has
an effect on intake when they have completed a film, and on their ability
to finance new productions.
Huang Yu-shan has been called "the most underrated filmmaker"
working in Taiwan today. Despite noteworthy films like Autumn
Tempest, Spring Cactus, The Song of Cha-tian Mountain, The Forgotten and
Night that have been shown during film fests in France, the U.S.,
South Africa, Korea and Germany, many critics and cinema lovers haven't
discovered her work. A feminist filmmaker in a certain sense, she has championed
women's rights and the rights of gays and lesbians. Has it caused skepticism
and contributed to an erroneous, or at least one-sided "classification"?
Her horizon is wider than that, and socio-cultural issues, including a
long-standing insistance on the cultural specificity of the South Taiwanese
heritage and a love of the Chinese motherland have influenced her artistic
creation as a Chinese filmmaker and writer again and again.
It is time to discover a filmic oeuvre informed by the
aesthetic sensibilility and the sense of justice of a quiet, sensitive
and yet rebellious woman working in a part of the global South which is
struggling to free itself from patriarchical values, cultural imperialism,
hegemonism, commodification, and various forms of exploitation of man by
Mary Ann Doane,
THE FEMALE FACE, THE CITYSCAPE, AND MODERNITY IN A TRANSCULTURAL