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  • Social Responsibility and Aesthetics: The Function of Documentary Filmmaking in Contemporary Taiwan

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    Kuo_2013_02Thesis.pdf (3.689Mb)
    Author(s)
    Kuo, Yen-Ting
    Primary Supervisor
    Laughren, Patrick
    FitzSimons, Trish
    Smith, Doug
    Other Supervisors
    Hsieh, Chang-Fu
    Year published
    2013
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    Abstract
    Since the lifting of martial law in 1987, documentary production in contemporary Taiwan has experienced considerable change. Arguably, the most significant of these changes — the development of an independent documentary sector — can be understood as part of wider social, economic, political and cultural developments in the Republic of China. From 1949 until the late 1980s, most documentary production in the Republic had reflected the ideologies and didactic nature of the paternalist Nationalist Party government. During these years, the documentary typically functioned to glorify the government in the eyes of the population ...
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    Since the lifting of martial law in 1987, documentary production in contemporary Taiwan has experienced considerable change. Arguably, the most significant of these changes — the development of an independent documentary sector — can be understood as part of wider social, economic, political and cultural developments in the Republic of China. From 1949 until the late 1980s, most documentary production in the Republic had reflected the ideologies and didactic nature of the paternalist Nationalist Party government. During these years, the documentary typically functioned to glorify the government in the eyes of the population and, while there were a small number of exceptions, most of these productions were, in essence, little more than propaganda. While documentary filmmaking in Taiwan is still subject to social, political and economic constraints, since 1987 it has demonstrably displayed more diverse approaches in production and aesthetics. Increasingly, the documentary film has been regarded as an instrument to enlighten the outlook of the people and to pave the way for dialogue between the officials, filmmakers and citizens. Arguably, these changes reflect a movement away from bureaucratic insecurity towards a more dynamic representation of the possibilities of Taiwanese democracy and social reform. This research explores the experiences and strategies of nine independent documentary filmmakers who have operated in Taiwan during this period of demonstrable change. The research, which combines a written dissertation and a body of video-documentation, sets out to investigate how these shifts in documentary style, function and project may be characterised and to consider how these changes have been influenced by and contributed to the development of social critique in contemporary Taiwan. It has also created a set of audiovisual interviews and transcripts available for other researchers in the field. The study aims to add to the growing literature on Chinese independent documentary filmmaking and contributes to an international literature on the dynamic variety of the documentary project.
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    Thesis Type
    Thesis (Professional Doctorate)
    Degree Program
    Doctor of Visual Arts (DVA)
    School
    Queensland College of Art
    DOI
    https://doi.org/10.25904/1912/571
    Copyright Statement
    The author owns the copyright in this thesis, unless stated otherwise.
    Item Access Status
    Public
    Note
    Appendix 3 has not been published here in order to comply with copyright.
    Subject
    Documentary filmmaking Taiwan
    Arts and politics, Taiwan
    Political ideaology in art, Taiwan
    Publication URI
    http://hdl.handle.net/10072/367473
    Collection
    • Theses - Higher Degree by Research

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