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    Bibliography

    City of Sadness Credits

    A City of Sadness (Beiqing chengshi)

    • Taiwan, 1989
    • Director: Hou Hsiao-hsien (Hou Xiaoxian)
    • Distributor: Artificial Eye. Production Company: 3-H Films. An Era International Presentation. Executive Producers: H. T. Jan, Michael Yang. Producer: Qiu Fusheng. Associate Producer: Huakun. Production Managers: Tuo Zongmin, He Jingping, Xu Sixian, Wu Zhongliang.

    Production Crew

    • Assistant Directors: Huang Jianhe, George Chang. Screenplay: Wu Nianzhen, Zhu Tianwen. Photographer: Chen Huai’en. Assistant Photographers: Liu Changhou, Zhao Faquan, Zhang Dalong, Wang Yunming. Intertitle Photography: Liu Deguang. Lighting: Song Diansheng. Editor: Liao Qingsong. Production Designers: Liu Zhihua, Lin Chongwen. Music: Tachikawa Naoki, Zhang Hongzyi. Music Performed by: Sens. Music Produced by: Cai Zhen’nan, Funhouse Inc. Wedding Music performed by: Yiwanran Zhangzong Groups. “Exile Trilogy” Music: Chen Jianzhong, Shang Yu, Lai Xihuang. Costumes: Zhu Jingwen. Sound Recording: Du Duzhi, Yang Jing’an. Production Assistants: Wan Guoxiang, Ding Shaobai. Ruantan Opera sequence staged by: Pan Yujiao. Subtitles: Stan Lai, Shu Kei.

    Cast

    • Li Tianlu (Lin Ah-Lu), Chen Songyong (Lin Wen-Hsiung), Gao Jie (Lin Wen-Liang), Tony Leung (Lin Wen-Ching), Wu Yifang (Wu Hinoe), Xin Shufen (Wu Hinomi), Chen Shufang (Mio, First Brother’s Wife) Ke Suyun (Second Brother’s Wife), Lin Liqing (Third Brother’s Wife), He Aiyun (First Brother’s Mistress), Kenny Cheung (Ah Ga), Yang Changjiang (Ah Ga’s Father), Ling Yang (Mr. Ko), Liu Yiubin (Man from Wenzhou), Huang Qianru (Ah Shueh), Luo Chengye (Ah Kun), Nakamura Ikuyo (Ogawa Shizuko), Nagatani Sentaro (Ogawa), Lin Zhaoxiong (Ah Cheng), Lin Ju (Kim Tsua), Zhang Wenzhong (Kim Chuan), Lu Qing (Mr. Wu), Mei Fang (Mrs. Wu), Lei Ming (Man from Shanghai), Wen Shuai (Ah Soa), Bi Li (Billy), Lai Denan (Hospital Administrator), Li Jianbin and Ye Zhizhong (Doctors), Ai Zaitu (“Red Monkey”), Chen Yurong (Ah Tsun), A Pipe (Ah Kio), Ye Wutong (Stallholder), Liu Zhuolun (Photographer), Xiao Chengji, Xhao Zhiyuan, and Zhang Fangcheng (Bodyguards), Yan Chun-chun (Nurse), Takakuwa Junko (Japanese Woman), Ma Wenhou (Ruantan Opera Actress), H. T. Jan (Mr. Lin), Wu Nianzhen (Mr. Wu), Xie Caijun (Mr. Xie), Zhang Dachun (Mr. He), Jin Shijie (Mr. Huang), Gao Chongli (Heavy), Chen Liangyue (Army Officer).
    • 14,464 ft. 160 mins. Mandarin, Hokkien, Shanghaiese, Cantonese, and Japanese dialogue.
    • IMDB link: http://www.imdb.com/title/tt0096908.

    Select Bibliography

    It has been over two decades since the project made its debut and since then many new works on the film, Hou Hsiao-hsien, and Taiwanese cinema have been published. The list below is a partial update to the growing field of Taiwanese cinema and not to be taken as a definitive record.

    • Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 1983).
    • Bakhtin, Mikhail. The Dialogical Imagination (Austin: University of Texas Press, 1981).
    • Bakhtin, Mikhail. Problems of Dostoevsky’s Poetics. Trans. R. W. Rotsel (Ann Arbor, MI: Ardis Press, 1973).
    • Barthes, Roland. Camera Lucida. Trans. Richard Howard (New York: Hill and Wang, 1981).
    • Berry, Chris, ed. “China’s New ‘Women’s Cinema.’” Camera Obscura 18 (1988): 8–19.
    • Berry, Chris. Perspectives on Chinese Cinema (Bloomington: Indiana University Press, 1992).
    • Berry, Michael. “Words and Images: A Conversation with Hou Hsiao-hsien and Chu Tien-wen.” Positions—East Asia Cultures Critiques 11.3 (2003): 675–716. Also in Speaking in Images: Interviews with Contemporary Chinese Filmmakers, ed. Michael Berry, 234–71 (New York: Columbia University Press, 2005).
    • Bhabha, Homi J. Nation and Narration (New York: Routledge University Press, 1990).
    • Bordwell, David. “Hou, or Constraints.” In Figures Traced in Light: On Cinematic Staging, 186–237 (Berkeley: University of California Press, 2005).
    • Bordwell, David. Ozu and the Poetics of Cinema (Princeton: Princeton University Press, 1988); electronic version (Ann Arbor: University of Michigan Center for Japanese Studies, 2007), https://www.cjspubs.lsa.umich.edu/electronic/facultyseries/list/series/ozu.php.
    • Bordwell, David. “Watch Again! Look Well! Look! (For Ozu).” Observations on Film Art (12 December 2013). http://www.davidbordwell.net/blog/2013/12/12/watch-again-look-well-look-for-ozu/.
    • Brown, Georgia. “Island in the Mainstream.” Village Voice (26 April 1989): 66.
    • Browne, Nick. “Hou Hsiao Hsien’s The Puppetmaster: The Poetics of Landscape.” In Island on the Edge: Taiwan New Cinema and After, ed. Chris Berry and Feii Lu, 79–88 (Hong Kong: Hong Kong University Press, 2005).
    • Burnett, Colin. “Parametric Narration and Optical Transition Devices: Hou Hsiao-hsien and Robert Bresson in Comparison.” Senses of Cinema 33 (2004). http://sensesofcinema.com/2004/feature-articles/hou_hsiao_hsien_bresson/.
    • Burton, Julianne. “Marginal Cinemas and Mainstream Critical Theory.” Screen 13.3 (1985): 3–21.
    • Canby, Vincent. “Why Some Movies Don’t Travel Well.” New York Times (23 October 1988): E1.
    • Chai, Lingling. “Dianying, lishi rentong yu renming jiyi” [Cinema, historical identification and popular memory], Zili Zaobao [Independent Morning Post] (27 December 1989): 14.
    • Chang, Jinn-pei. Ning wang shi dai: chuanyue Beiqing chengshi ershi nian [Looking Back through the film A City of Sadness] (Taipei: Tianyuan chengshi, 2011).
    • Chen, Fangming. Er’er’ba shijian xueshu lunwenji [Collected research works on the February 28 Incident] (Taipei: Qianwei, 1989).
    • Chen, Kuan-hsing, Paul Willemen, and Ti Wei, eds. “Hou Hsiao-hsien Special Issue.” Inter-Asia Cultural Studies 9.2 (June 2008).
    • Chen, Qinan. Jiazhu yu shehuei [Clan and society] (Taipei: Linking, 1990).
    • Chen, Yenyu. The February 28 Incident: Collected Works by Concerned Scholars (Taipei: Council on Formosan Studies, 1992).
    • Cheng, Jihua, Li Shaobai, and Xing Zuwen. Zhongguo dianying fazhanshi [A history of the development of Chinese cinema], 2 vols. (Beijing: China Film Press, 1980).
    • Chi, Robert. “Getting It on Film: Representing and Understanding History in A City of Sadness.Tamkang Review 29.4 (Summer 1999): 47–84.
    • Chiao, Hsiung-ping. “Cinema: Autobiographical Masterpiece.” Free China Review 38.2 (February 1988): 33–35.
    • Chiao, Hsiung-ping. “Cinema: Contrasting Images.” Free China Review 38.2 (February 1988): 12–19.
    • Chiao, Hsiung-ping. “Cinema: Satire with Elegant Sensitivity.” Free China Review 38.2 (February 1988): 36–39.
    • Chiao, Hsiung-ping. “Cinema: Struggles between Commercialism and Art.” Free China Review 38.2 (February 1988): 20–25.
    • Chiao, Hsiung-ping. “A Summer at Grandpa’s—Fields/Days of Infancy/Parent-Child Relationships.” Wave (Tokyo) 21 (January 1989): 84–86.
    • Chiao, Hsiung-ping. Taiwan xindianying [The Taiwan New Cinema] (Taipei: Shibao, 1988).
    • Chiao, Hsiung-ping. Xianggang dianying fengmao [Features of Hong Kong Cinema] (Taipei: Shibao, 1987).
    • Chow, Rey. “Silent Is the Ancient Plain: Music, Filmmaking, and the Conception of Reform in China’s New Cinema.” Discourse 12.2 (1990): 82–90.
    • Chow, Rey. Women and Chinese Modernity (Minneapolis: University of Minnesota Press, 1990).
    • Chua, Lawrence. “Who’s Hou?” Women’s Wear Daily (7 September 1989).
    • Clark, Paul. Chinese Cinema: Culture and Politics since 1949 (Cambridge: Cambridge University Press, 1987).
    • Clifford, James. The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art (Cambridge: Harvard University Press, 1988).
    • Cooke, David. “A Review of Hou Hsiao-hsien’s A City of Sadness.Public Culture 5 (1993): 354–57.
    • Daly, Fergus. “On Four Prosaic Formulas Which Might Summarize Hou’s Poetics.” Senses of Cinema 12 (2001). http://sensesofcinema.com/2001/12/hou/#filmo.
    • Davis, Darrell William. “Borrowing Postcolonial: Wu Nien-chen’s Dou-san and the Memory Mine.” Post Script 20.2–3 (Winter–Spring 2001): 94–114. Also in Chinese-Language Film: Historiography, Poetics, Politics, ed. Sheldon H. Lu and Emilie Yueh-yu Yeh, chap. 11 (Honolulu: University of Hawaii Press, 2005).
    • Davis, Darrell William. “A New Taiwan Person? Questions for Wu Nien-chen.” positions: east asia cultures critique 11.3 (Winter 2003): 717–34.
    • Den-ei shin seki The Filmmaker of the ’90s Hou Hsiao-hsien (Tokyo: Pia, 1989).
    • Doane, Mary Ann. The Dialogical Text: Filmic Irony and the Spectator (Ann Arbor: University of Michigan Microfilms International, 1979).
    • Doane, Mary Ann, Patricia Mellencamp, and Linda Williams, eds. Re-Vision: Essays in Feminist Film Criticism (Frederick, MD: University Publications of America, 1984).
    • Dominic, Mart, and Peter Delpeut. “A Man Must Be Greater Than His Films.” Screen (Holland) (January 1989). Reprinted in Japanese in Den-ei shin seki The Filmmaker of the ’90s Hou Hsiao-hsien, 12–16 (Tokyo: Pia, 1989).
    • Du, Yunzhi. Zhongguo dianying shi [A history of Chinese cinema]. 3 vols. (Taipei: Shangwuyin, 1972).
    • Flant, Antony, and David Vasse, eds. Le cinéma de Hou Hsiao-hsien: Escapes, temps, sons (Rennes: Presses Universitaires de Rennes, 2013).
    • Frodon, Jean-Michel, ed. Hou Hsiao-hsien (Lonrai: Editions Cahiers du cinema, 1999).
    • Gabriel, Teshome. “Colonialism and ‘Law and Order’ Criticism.” Screen 27.3–4 (1986): 140–47.
    • Gabriel, Teshome. Third Cinema in the Third World: The Aesthetics of Liberation (Ann Arbor: UMI Research Press, 1982).
    • Guest, Haden. “Reflections on the Screen: Hou Hsiao Hsien’s Dust in the Wind and the Rhythms of the Taiwan New Cinema.” In Island on the Edge: Taiwan New Cinema and After, ed. Chris Berry and Feii Lu, 27–38 (Hong Kong: Hong Kong University Press, 2005).
    • Haddon, Rosemary. “Hou Hsiao Hsien’s City of Sadness: History and the Dialogic Female Voice.” In Island on the Edge: Taiwan New Cinema and After, ed. Chris Berry and Feii Lu, 55–66 (Hong Kong: Hong Kong University Press, 2005).
    • Hasumi, Shigehiko. “Gamen o tsukuru no wa, kekkyoku, chokkan da to omou” [I Think Making a Scene Is, in the Final Instance, Intuition]. Lumiere (Tokyo) 9 (Fall 1989): 87–94.
    • Hasumi, Shigehiko. Kantoku Ozu Yasujiro [Director Ozu Yasujiro] (Tokyo: Chikuma Shobo, 1983).
    • Higson, Andrew. “The Concept of National Cinema.” Screen 30.4 (1989): 36–47.
    • Hijojoshi [City of Sadness], Chanter Cine 2.14 (Tokyo: France Eigasha, 1990).
    • Hillenbrand, Margaret. “Trauma and the Politics of Identity: Form and Function in Fictional Narratives of the February 28th Incident.” Modern Chinese Literature and Culture 17.2 (Fall 2005): 49–89.
    • Historical Research Commission of Taiwan. The Historiographical Records on the Taiwan Event of February 28, 1947 (Tai-chung, Taiwan: Historical Research Commission Council of Taiwan Province, 1990).
    • Hobermann, J. “Hou Hsiao-hsien: The Edge of the World.” In Vulgar Modernism: Writing on Movies and Other Media, 104–7 (Philadelphia: Temple University Press, 1991).
    • Huang, Edwin. “Cinema: Urban Anxieties.” Free China Review 38.2 (February 1988): 30–32.
    • Hung, Christine Yu-ting. A Nation of Sadness? A Study of History, Culture, and Gender in Hou Hsiao-hsien’s Film A City of Sadness (Germany: Lambert Academic Publishing, 2013).
    • Institute of Modern History. Oral History 3: Special Issue on the February 28 Incident (Taipei: Institute of Modern History, Academia Sinica, 1992).
    • Institute of Modern History. The 228 Incident: A Documentary Collection. Vol. 1 (Taipei: Institute of Modern History, Academia Sinica, 1992).
    • James, Caryn. “Postwar ‘Sadness’ in Taiwan.” New York Times (6 October 1989): C13.
    • Johnson, Claire. Notes on Women’s Cinema (London: Society for Education in Film and Television, 1975).
    • Kaldis, Nick. “Compulsory Orientalism: Hou Hsiao Hsien’s Flowers of Shanghai.” In Island on the Edge: Taiwan New Cinema and After, ed. Chris Berry and Feii Lu, 127–36 (Hong Kong: Hong Kong University Press, 2005).
    • Kaplan, E. Ann. “Problematizing Cross-Cultural Analysis: The Case of Women in the Recent Chinese Cinema.” Wide Angle 11.2 (1989): 40–50.
    • Kasman, Daniel. “Hou Hsiao-hsien’s Urban Female Youth Trilogy.” Senses of Cinema 39 (May 2006). http://sensesofcinema.com/2006/39/hou_urban_female_youth/.
    • Kauffmann, Stanley. “Elsewhere.” New Republic 202.24 (11 June 1990): 26.
    • Kehr, David. “Director Makes Ordinary Life Extraordinary.” Chicago Tribune (from Toronto Film Festival catalog, September 1989).
    • Kerr, George. Formosa Betrayed (New York: De Capo Press, 1976).
    • Kerr, George. The Taiwan Confrontation Crisis (Berkeley, CA: Formosan Association for Public Affairs, 1986).
    • Kinder, Marsha. “The Subversive Potential of the Pseudo-Iterative.” Film Quarterly 43.2 (1989–90): 2–16.
    • Kristeva, Julia. The Kristeva Reader. Trans. Toril Moi (New York: Columbia University Press, 1986).
    • Lai Tse-han, Ramon H. Myers, and Wei Wou. A Tragic Beginning: Taiwan Uprising of February 28, 1947 (Stanford: Stanford University Press, 1991).
    • Lamley, Harry, J. “Book review, A Tragic Beginning: Taiwan Uprising of February 28, 1947.Journal of Asian Studies 51.3 (1992): 652–54.
    • Leyda, Jay. Dianying: An Account of Films and the Film Audience in China (Cambridge: MIT Press, 1972).
    • Li, Shangren. “Taiwan xindianying yu disandianying: yie changshiwing de bijiao” [The Taiwan New Cinema and Third Cinema: A tentative comparison] Dianying xinshang [Film Appreciation Journal] 5.2 (1987): 23–26.
    • Li, Tuo. “Narratives of History in the Cinematography of Hou Xiaoxian.” positions 1.3 (Winter 1993): 805–15.
    • Li, Yongwei, and Xiaofen Peng. “Taiwan ‘Xindianying’ shiqi wei gongzouahe fangwenlu” [An interview with seventeen filmmakers in the Taiwan New Cinema movement] Dianying xinshang [Film Appreciation Journal] 5.2 (1987): 5–16.
    • Li, Youxin. “Gangtai liuda daoyian” [Six great directors from Hong Kong and Taiwan], Zili Zaoba [Independent Morning Post (Taipei)], 1986.
    • Liao, Ping-hui. “Lishi de yangqi?—zailun Beiqing chengshi” [Leaving history behind?—Rethinking A City of Sadness], Zili Zaoba [Independent Morning Post (Taipei)], (27 February 1991): 14.
    • Liao, Ping-hui. “Passing and Re-articulation of Identity: Memory, Trauma, and Cinema.” Tamkang Review 29.4 (Summer 1999): 85–114.
    • Liao, Ping-hui. “Rewriting Taiwanese National History: The February 28 Incident as Spectacle.” Public Culture 5 (1993): 281–96.
    • Lin, Sylvia Li-chun. “Screening Atrocity.” In Representing Atrocity in Taiwan: The 2/28 Incident and White Terror in Fiction and Film, 128–53 (New York: Columbia University Press, 2007).
    • Lin, Wen-chi, Shiao-ying Shen and Jerome Li. Xilian rensheng: Hou Hsiao-hsien dianying yanjiu [Passionate detachment: Films of Hou Hsiao-hsien] (Taipei: Rye Field Publishing, 2000).
    • Liu, Senyiao. “Cong Fenggui lai de ren kan dianying de xieshi zhuyi” [The Boys from Fenggui and realism], Shijie Dianying [World Cinema Journal] 132 (1983): 50–54.
    • Lu, Fei-yi. Taiwan dianying: Zhengzhi, jingji, meixue [Taiwan cinema: Politics, economics and aesthetics] (Taipei: Yuanliu, 1998).
    • Lu, Sheldon H. and Emilie Yueh-yu Yeh. eds. Chinese-Language Film: Historiography, Poetics, Politics (Honolulu: University of Hawaii Press, 2005).
    • Lu, Tong-lin. “From a Voiceless Father to a Father’s Voice: Hou Xiaoxian, A Time to Live and a Time to Die, A City of Sadness, The Puppetmaster.” In Confronting Modernity in the Cinemas of Taiwan and Mainland China, 95–115 (Cambridge: Cambridge University Press, 2002).
    • Lupke, Christopher. “Chu T’ien-wen and the Sotto Voce of Gendered Expression in the Films of Hou Hsiao-hsien.” In Chinese Women’s Cinema: Transnational Contexts, ed. Lingzhen Wang, 274–92 (New York: Columbia University Press, 2011).
    • Lupke, Christopher. “The Muted Interstices of Testimony: A City of Sadness and the Predicament of Multiculturalism in Taiwan.” Asian Cinema 15.1 (Spring 2004): 5–36.
    • Ma, Jean. “Time without Measure, Sadness without Cure.” In Melancholy Drift: Marking Time in Chinese Cinema, 19–49 (Hong Kong: Hong Kong University Press, 2010).
    • Ma, Ning. “Symbolic Representation and Symbolic Violence: Chinese Family Melodrama of the Early 1980s.” East-West Film Journal 4.1 (1989): 79–112.
    • Ma, Ning. “The Textual and Critical Difference of Being Radical: Reconstructing Chinese Leftist Films of the 1930s.” Wide Angle 11.2 (1989): 22–31.
    • Marchetti, Gina. “The Blossoming of a Revolutionary Aesthetics: Xie Jin’s Two Stage Sisters.Jump Cut 34 (1989): 95–106.
    • Mendal, Douglas. The Politics of Formosan Nationalism (Berkeley: University of California Press, 1970).
    • Mi Zou, and Xinhua Liang, eds. Xingdianying zhe ze [The death of the New Cinema] (Taipei: Tangshang, 1991).
    • Modleski, Tania. “Time and Desire in the Woman’s Film.” Cinema Journal 23.3 (1984): 19–30.
    • Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” In Visual and Other Pleasures, 14–28 (Bloomington: Indiana University Press, 1989).
    • Ng, Yvonne. “Essence and Ellipsis in Hou Hsiao-hsien’s The Puppetmaster.Kinema (Spring 1999). http://www.kinema.uwaterloo.ca/article.php?id=213&feature.
    • Noh, David. “Taiwanese Director’s Sadness Recalls Island’s Turbulent Past.” Film Journal International (New York) 93.2 (February 1990): 28.
    • Nornes, Abé Mark. “Hou Hsiao-hsien and Narrative Space.” In Hou Hsiao-hsien, ed. Richard Suchenski, 154–68. (Vienna: Österreichisches Filmmuseum; and New York: Columbia University Press, 2014).
    • Nornes, Markus. “Terrorizer.” Film Quarterly 8.2 (Spring 1989): 64–72.
    • Pines, Jim, and Paul Willemen. Questions of Third Cinema (London: British Film Institute, 1989).
    • Qi, Longren. “Cinema: Critiquing the Critics.” Free China Review 38.2 (February 1988): 26–29.
    • Rawnsley, Ming-yeh. T. “Cinema, Historiography, and Identities in Taiwan: Hou Hsiao-hsien’s A City of Sadness.Asian Cinema 22.2 (2011): 196–213.
    • Rayns, Tony. “Beiqing chengshi” [A City of Sadness]. Monthly Film Bulletin 57 (June 1990): 152–54.
    • Rayns, Tony. “Hou Hsiao-hsien: Songs for Swinging Lovers.” Sight and Sound 16.8 (August 2006): 14, 16–19.
    • Rayns, Tony. “The Position of Women in New Chinese Cinema.” East-West Film Journal 1.2 (1987): 32–44.
    • Rayns, Tony. “The Sandwich Man: Between Taiwan and the Mainland, between the Real and the Surreal: Tony Rayns Talks to Hou Xiaoxian.” Monthly Film Bulletin 55 (June 1988): 163–64.
    • Rayns, Tony. “Tongnian Wangshi” [A Time to Live and a Time to Die]. Monthly Film Bulletin 55 (June 1988): 161–63.
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    • Wan, Xuting. “Liti de dianying—Beiqing chengshi de kongjian yu xushi” [A film that fails to cover its subject—the space and narrative of City of Sadness], Zili Zaobau [Independent Morning Post (Taipei)], (8 December 1989): 14.
    • Warner, Charles R. “Smoke Gets in Your Eyes: Hou Hsiao-hsien’s Optics of Ephemerality.” Senses of Cinema 39 (May 2006). http://sensesofcinema.com/2006/39/hou_optics_ephemerality/.
    • Wu, I-fen. “Looking for Nostalgia: Memory and National Identity in A Time to Live, a Time to Die.Cineaction 60.1 (2003): 45–51.
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    • Wu, Qiyan. “Taiwan jingyan de yingxiang suzao” [Construction of the image of Taiwan’s experience], Dianying xinshang [Film Appreciation Journal] 8.2 (1991): 50–52.
    • Wu, Zhenghuan. “Hou Hsiao-hsien dianying de liangge shijie” [The two worlds of Hou Hsiao-hsien’s film], Dianying xinshang [Film Appreciation Journal] 5.2 (1987): 6–21.
    • Yan, Huizeng. “Shiyi xieshi zhuyi—Taiwan xindiangying yu yian chugao” [Poetic realism: A first draft of a discussion of the Taiwan New Cinema], Dianying xinshang [Film Appreciation Journal] 5.2 (1987): 17–22.
    • Yau, Esther. “Cultural and Economic Dislocations: Filmic Phantasies of Chinese Women in the 1980s.” Wide Angle 11.2 (1989): 6–21.
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    • Yeh, Emilie Yueh-yu. “Poetics and Politics of Hou Hsiao-hsien’s Films.” In Chinese-Language Film: Historiography, Poetics, Politics, ed. Sheldon Lu and Emilie Yueh-yu Yeh, 163–85 (Honolulu: University of Hawai’i Press, 2005).
    • Yeh, Emilie Yueh-yu, and Darrell William Davis. Taiwan Film Directors: A Treasure Island (New York: Columbia University Press, 2005).
    • Yeh, Yueh-yu. “Nüren zhende wufa jinru lishi ma? Zai du Beiqing chengshi” [Why can’t women enter history? Re-reviewing City of Sadness], Dangdai [Contemporary Monthly] 101 (September 1994): 64–85.
    • Yip, June. Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary (Durham, NC: Duke University Press, 2004).
    • Yoshimoto, Mitsuhiro. “The Postmodern and Mass Images of Japan.” Public Culture 1.2 (1989): 8–25.
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