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Mapping Hou Hsiao-hsien's Visuality: Setting, Silence and the Incongruence of Translation in Flight of the Red Balloon
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Mapping Hou Hsiao-hsien's Visuality: Setting, Silence and the Incongruence of Translation in Flight of the Red Balloon
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Book Chapter
Mapping Hou Hsiao-hsien's Visuality: Setting, Silence and the Incongruence of Translation in Flight of the Red Balloon
2014
Overview
In his 2001 text, An Accented Cinema: Exilic and Diasporic Filmmaking, Hamid Naficy defines his concept of 'accented cinema' as: 'fragmented, multilingual, epistolary, self-reflexive ... amphibolic, doubled, crossed' and so on. For Naficy, 'accented cinema' contains: '... lost characters; subject matter and themes that involve journeying, historicity, identity, and displacement' (4). At the end of this long list of adjectives, Naficy adds that accented cinema is often a collective undertaking (that is, it is often co-produced), and that the films themselves tend to reflect the film-maker's identity as an exile or migrant.
In an interview with French director Olivier Assayas, Hou Hsiao-hsien describes himself as a Taiwanese film-maker who is 'culturally Chinese'. Though this term, 'culturally Chinese' does create a misleading sense of the uniformity of culture, Naficy's terminology can be similarly misleading. Though Naficy's description of 'accented cinema' is helpful in that it contains a general list of qualities that most non-Hollywood films share, the term again reinforces a binary. If, on the one hand, 'dominant cinema' is 'considered universal and without accent', then, on the other hand, says Naficy: 'the films that diasporic and exilic subjects make are accented' (Naficy 4). Despite his beautifully rich and imaginative description of accented cinema, and despite his work to add pinches of ambivalence into the equation, Naficy has still, fundamentally, divided cinema into two classes: one 'dominant' and 'universal', the other 'exilic' and 'accented'.
