Abstract
This article examines the uses of long takes, deep focus and intertextuality in Tsai Ming-Liang's Goodbye, Dragon Inn. Andre Bazin argued that long takes and deep focus create a form of ‘cinematic humanism’. Tsai instead uses the techniques to produce effects of disorientation and humour. The article then examines the theory of intertextuality as proposed by Julia Kristeva. It is argued that Tsai uses intertextuality to confuse the boundaries between Goodbye, Dragon Inn and King Hu's Dragon Gate Inn as well as between the viewer, the medium of film and the cinema space. The article ends with a warning against putting too much faith in grand theoretical structures to provide exhaustive readings of Tsai's films. It is argued that an aspect of Tsai's cinema that is overlooked by such approaches is its light-heartedness.
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