Abstract
This chapter focuses on Edward Yang’s Taipei Trilogy: A Confucian Confusion (1994), Mahjong (1996), and A One and a Two (2000) to investigate how Yang makes parody of melodrama with limited point of view, frame-within-the-frame, off-screen voice, dual sound, and image track and spatial layout to manipulate the audience’s gaze between visibility and invisibility, calling into mind that urban people in hustle and bustle only see half of the truth while ignoring what comes from behind.Yang utilizes Taipei’s conspicuous landmarks and the overlapping imagery of human figures and city space to suggest their intertwined relationship as both are part of the city’s vital exchange system. Yang also represents how technologies in a postmodern world interweave the virtual and the actual, shaping the protagonists’ perception and intervening their everyday lives.
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