According to Cavell, the emphasis that these movies place on"remarriage" draws attention to the fact that, within a relationship, happiness requires"growing up" together with one's partner.
These films were intended to seed our collective consciousness with fear and terror- a xenophobic hatred of all intelligent civilizations other than our own.
These films sought to portray genuine stories of people living either in urban or rural Taiwan, and are often compared stylistically to the films of the Italian neorealism movement.
Cavell argues that these films, from the years 1934- 1949, form part of what he calls the genre of remarriage, and he finds in them great philosophical, moral, and indeed political significance.
By drawing parallels with painful individual memories, these films allow viewers to make connections between the state violence of today and the political violence of the past, while their slow motion and repeat treatment of personal memories and/or histories of political violence, underscores the persistence of state violence in Thailand.
These films were at the center of new debates about reality and realism and the role of photography and cinematography in modern society, for example in the Soviet cultural journal Novy Lef which published debates, critiques and manifestoes on the"fact film," debates taken up by Walter Benjamin in his essays"The Work of Art in the Age of Mechanical Reproduction" and"A Short History of Photography.
日本語
中文
عربى
Български
বাংলা
Český
Dansk
Deutsch
Ελληνικά
Español
Suomi
Français
עִברִית
हिंदी
Hrvatski
Magyar
Bahasa indonesia
Italiano
Қазақ
한국어
മലയാളം
मराठी
Bahasa malay
Nederlands
Norsk
Polski
Português
Română
Русский
Slovenský
Slovenski
Српски
Svenska
தமிழ்
తెలుగు
ไทย
Tagalog
Turkce
Українська
اردو
Tiếng việt