Remapping Ozu's Tokyo? The Interplay between History and Memory in Hou Hsiao-Hsien's Café Lumière
This essay will argue that the film's representation of urban Tokyo is shaped by the director's concern with history to discuss its connections with memory. This paper aims to explore how memory has gained in value as a site of historical interpretation, and how history and memory relate closely to a wider reconsideration of the shifting cultural landscape of modern society. This paper aims to explore how memory has gained in value as a site of historical interpretation, and how history and memory relate closely to a wider reconsideration of the shifting cultural landscape of modern society. Hou's representation of modern society also heightens the necessity to consider the linkage between past and present, opening up the possibility that is more than just to remember the past and consequently conceive the present.
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Document Type: Research Article
Publication date: March 1, 2008
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- Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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