Abstract
ABSTRACTThe idea of delayed cinema offers a lens through which to explore Tsai Ming-liang's approach to intertextuality. As much as intertextuality for Tsai functions in the mode of homage or a self-conscious play with genre conventions, it also demands to be understood as a historically meaningful gesture. This article looks at The Hole's references to Grace Chang and post-war Mandarin popular cinema, taking up the question of why the music of Grace Chang. Is there more to the intertextual dialogue that the film establishes with her songs, beyond what many commentators have framed as a relation of counterpoint or ironic contrast? The entanglement of music, femininity and an ideal of cosmopolitan modernity within the figure of the songstress opens up provocative angles on the gender and identity politics of Tsai's work.
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