I just watched Hou Hsiao-hsien's THE GREEN, GREEN GRASS OF HOME and thought about Bordwell's viewing dozens of ordinary Japanese films to understand Ozu. It's easy to see the development of Hou's aesthetic in THE GREEN, GREEN GRASS OF HOME, but it's also a mainstream '80s Taiwanese dramedy, and how many Americans have any idea how it fits into that context?
An absolute critical point. I think I've seen a few of the 1970s Taiwan dramas and then it really puts into stark contrast the difference of those filmmaking (and then the various short film compilations by the emerging art directors then puts further into context what made directors like Hou and Yang stand out).
I just watched Hou Hsiao-hsien's THE GREEN, GREEN GRASS OF HOME and thought about Bordwell's viewing dozens of ordinary Japanese films to understand Ozu. It's easy to see the development of Hou's aesthetic in THE GREEN, GREEN GRASS OF HOME, but it's also a mainstream '80s Taiwanese dramedy, and how many Americans have any idea how it fits into that context?
An absolute critical point. I think I've seen a few of the 1970s Taiwan dramas and then it really puts into stark contrast the difference of those filmmaking (and then the various short film compilations by the emerging art directors then puts further into context what made directors like Hou and Yang stand out).