Abstract
In this article we seek to analyze Tsai Ming-liang's feature film The hole (1998), in order to discuss how its five musical moments are set as a response to the delay of the love encounter on the diegetic level. We also seek to highlight the ways by which popular songs and cinematic references are appropriated as means to enhance an affective investment in the repertoires of media culture. The assimilation of such repertoires relies on aesthetic operations of detour and displacement. We argue that instead of erasing the differences, those operations invest in the expressive potential of the disjunctions between disparate visual regimes.
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