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

Author: Wood, Chris

Source: Journal of Chinese Cinemas, Volume 1, Number 2, 17 May 2007 , pp. 105-116(12)

Publisher: Intellect

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Abstract:

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.

Keywords: Tsai; realism; intertextuality; humour; Chinese cinema; Taiwan

Document Type: Research article

DOI: http://dx.doi.org/10.1386/jcc.1.2.105_1

Affiliations: 1: Centre for World Cinemas, University of Leeds.

Publication date: 2007-05-17

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Journal of Chinese Cinemas is a major refereed academic publication devoted to the study of Chinese film, drawing on the recent world-wide growth of interest in Chinese cinemas. An incredibly diverse range of films has emerged from all parts of the Chinese-speaking world over the last few years, with an ever increasing number of border-crossing collaborative efforts prominent among them. These exciting developments provide abundant ground for academic research.
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