Abstract
In contemporary Sino-French cinema, father characters who are dead, long lost or geographically distant leave gaping holes in the lives of the offspring left behind. The absent fathers in Sino-French films by Taiwanese auteurs Cheng Yu-chieh, Hou Hsiao-hsien and Tsai Ming-liang serve as metaphors for French auteurs. French New Wave films constitute the majority of the intertexts; however, early 1950s French cinema and even late nineteenth-century painting reflect the expansiveness of French influence. Despite the possibility of an orientalist dynamic, Taiwanese auteurs not only pay homage to their French ‘fathers’, and especially New Waver François Truffaut, but also strike out on their own, contributing innovative work to contemporary transnational cinemas.
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