Abstract
Abstract Taiwanese director Wang Tong’s film Strawman (1987) aims at comparing the maimed national identity and sense of helplessness of colonized Taiwanese people to the situation of a “strawman” in the late period of the Pacific War. I explore the relationship between the filmic representation of trivial events involving Taiwanese farmers and the irrepressible power of life and humanity that emerges despite Japanese empirical exploitation and domination. The events become a series of detours of sign processes that represent not just the tangos of life and death but also the tangles of the colonizer and the colonized in the real world, while the film’s Kristevean ideologemes operating through sign functions correlate the cinematographic world and the possible contextualized real world
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
