Dragon Inn Research Articles

Review: Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-liang, by Nicholas de Villiers

Review: <i>Cruisy, Sleepy, Melancholy: Sexual Disorientation in the Films of Tsai Ming-liang</i>, by Nicholas de Villiers

Encenar as linhas de força: dimensões perceptuais em Adeus, Dragon Inn

Qual o papel de categorias como o vazio e a lentidão no cinema contemporâneo? Em Adeus, Dragon Inn, Tsai Ming-Liang radicaliza a experimentação de elementos que apontam para uma energia negativa da imagem. Neste artigo, procuro reconhecer um novo estatuto da imagem fílmica: não mais definida como aquilo que organiza o visível sob a forma de campo, mas como o aparecimento do visível como uma composição de linhas de força. Para isso, construo os conceitos de perceptos molares e moleculares, em diálogo com o pensamento de Deleuze e Guattari. Discutindo com teóricos contemporâneos do cinema, proponho pensar a encenação como coordenação das forças em emergência no visível.

Wandering Around Where Cinema Used to Be -On the Case of Tsai Ming-liang’s Works Since Goodbye, Dragon Inn (2003)-

Wandering Around Where Cinema Used to Be -On the Case of Tsai Ming-liang’s Works Since Goodbye, Dragon Inn (2003)-

Entre a superfície e a profundidade: câmera-corpo no cinema asiático contemporâneo

By making use of a camera-body with connection to an “aesthetic of flow”, contempo-rary Asian movies as Shara, by Naomi Kawase; Goodbye, Dragon Inn, by Tsai Ming-liang; Cafe Lumiere, by Hou Hsiao-hsien; and Tropical Malady, by Apichatpong We-erasethakul, explore surface and depth not only as diametrically opposed forces, but also as equally legitimate experiences that can be experienced to the extreme. These films do not separate stable and unstable, presence and absence, appearance and van-ishing.

On Dissipation: Goodbye, Dragon Inn and the “Death of Cinema”

This paper explores the cinematic meta-theme of the “death of cinema” through the lens of Taiwanese director, Tsai Ming-liang’s 2003 film, Goodbye, Dragon Inn. In the film, the final screening of the wuxia pian classic, Dragon Inn, directed by King Hu, provides a focal point for the exploration of the diminished experience of institutional cinema in the post-cinematic age. Using the concept of “dissipation” in conjunction with a reappraisal of the turn to affect theory, this paper explores the kinds of subjective experiences that cinema can offer, and the affective experience of cinema-going itself, as portrayed in Goodbye, Dragon Inn. More specifically, in theorizing the role of dissipation in cinema-going, this paper explores the deployment of time and space in Goodbye, Dragon Inn and how it directs attention to the bodily action of cinema-going itself. The result is a critique of the possibilities of post-cinematic affects, rooted in an understanding of the way that late-capitalism continues to dominate and shape the range of experiences in the contemporary moment.

Problemáticas do contemporâneo em Tsai Ming-Liang: Memória, distanciamento e sexualidade

Abordamos o cinema como narrativa problematizadora da contemporaneidade, a partir da memória, dos distanciamentos afetivos e da sexualidade, que são determinantes para as representações artístico-culturais. Analisamos o filme Adeus, Dragon Inn (2003, de Tsai Ming-liang) em uma perspectiva filmográfica e comparativa com o cinema asiático contemporâneo. Entendemos que um filme pertence a uma tradição e dialoga com o cinema do seu tempo. A análise fílmica deve buscar uma maior compreensão das operações de significação, sensoriais e histórico-culturais dos filmes. Para isso, partimos das vertentes que pensam a contemporaneidade e a linguagem do cinema. Observamos que a obra de Tsai Ming-liang está em estreita sintonia com o contemporâneo, desenvolve constantes narrativas e uma fina reflexão sobre si, seus meios e potencial estéticos.

Ghosts in the Theatre: Generic play and temporality in Tsai Ming-liang’s Goodbye, Dragon Inn

Abstract Tsai Ming-liang’s Goodbye, Dragon Inn (2003) depicts a nearly vacant cinema screening King Hu’s martial arts film Dragon Gate Inn (1967) on its last night of business. The film’s composition of the theatre, empty and decaying, marks it as a haunted house, and the few people present as ghosts lingering nostalgically lamenting the theatre’s impending closure. This article, thus, offers a reading of Goodbye, Dragon Inn attending to the intertextual invocation of Dragon Gate Inn as well as the metacinematic focus of the theatre and its operation through the lens of horror film generic conventions. The ghosts populating the theatre present an alternative temporality that values and seeks to preserve the past. Yet the anomie infecting them, characteristically of Tsai’s films, prevents anything more than a temporary nostalgia that cannot adequately establish the past as a viable temporal mode. In the end, the theatre closes and the ghosts disperse.

Sinascape: contemporary Chinese cinema

Chapter 1 Introduction Chapter 2 The Right to Copy and the Digital Copyright: Hero, House of Flying Daggers, and China's Cultural Symptoms Chapter 3 Violence, the Sixth Generation Filmmaking, and Devils on the Doorstep Chapter 4 My Camera Doesn't Lie: Cinematic Realism and Chinese Cityscape in Beijing Bicycle and Suzhou River Chapter 5 Shaw Brothers' Old Cinema Excavated: From Kung Fu Hustle to Goodbye Dragon Inn Chapter 6 The Smell of the City: Memory and Hou Hsiao-hsien's Millennium Mambo Chapter 7 Hollywood Hong Kong, Hollywood Hong Kong, and the Cinematic Mode of Production Chapter 8 Postscript: Remaking East Asia

Realism, intertextuality and humour in Tsai Ming-liang's Goodbye, Dragon Inn

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.

Goodbye, Dragon Inn: Tsai Ming-liang's political aesthetics of nostalgia, place, and lingering

By bringing together King Hu's classic Dragon Gate Inn, a haunted theatrical space of a bygone era, and a marginalized cruising ‘community’ of gay men, Tsai Ming-liang's Goodbye, Dragon Inn engages a politics of place to disrupt the seamless cooptation of nostalgia into the transnational capitalist structures and networks of cultural consumption. The film achieves this through Tsai's formulation of a cinematic aesthetics of lingering.