Word: tsai
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Dates: during 2000-2009
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...brutality of the theater’s empty seats is perhaps understood only by those who had seen it in its heyday, like Tsai, and it is to get toward that spirit that he cites oldies music and films like Dragon Inn throughout his film. The original Dragon Inn was a wuxia pian (martial arts movies) 1966 bestseller in Chinese, which opened the door to a new wuxia genre with its simple melodies and lyrical setting in the old inn in contrast to the spectacular clamor of those which came before...
...Goodbye, Tsai summons back the star, Miao Tian, of the original film who was then in his twenties. Miao reappears as the nostalgic old man in the audience, the aged star, as he is in real life. Ironically, it was the star himself who bears the memory of the days when the house was full, in yet an empty theatre...
...theatre is a special place which allowed so many things to happen,” Tsai says. “I don’t want...
...great artists are ultimately philosophers, and in Goodbye, Tsai speaks not only of the cinema but also about the nature of life itself—about those watching and those being watched, about the absence of big dramas and the ubiquity of smaller, intricate gestures...
...same time Tsai acknowledges art’s inherent limits. When asked about where his films are going, he prefers not to “think too far.” Besides, “whether the cinema lives or not, people live their lives just fine,” he says...