Warriors of the Rainbow: Seediq Bale 賽德克•巴萊 [Film Screening]


What time is it there? Taiwan as crossroads -- Taiwan Film Series


Saturday, February 15, 2014
7:00 PM - 12:00 AM
Billy Wilder Theater, Hammer Museum

Part I: Sun Flag     

PROD: John Woo, Terence Chang, Huang Chih-ming. DIR/SCR: Wei Te-sheng. CINE: Chin Ting-chang. EDIT: Chen Po-wen Milk Su. CAST: Lin Ching-tai, Umin Boya, Masanobu Ando.

Taiwan’s highest-grossing domestic film ever tells of the indigenous Seediq people, split into rival clans, who must find a way to overcome history and fight as one people against occupying Japan, during that nation’s colonial rule. Mona Rudao, one of the Seediq clan chiefs, finally launches an armed rebellion at Wushe in 1930. Based on a true story and richly detailed.

Digital video, color, in Seediq, Japanese and Taiwanese w/ English s/t, 144 min.  

 

Part II: Rainbow Bridge    

PROD: John Woo, Terence Chang, Jimmy Huang. DIR/SCR: Wei Te-sheng. CINE: Chin Ting-chang. EDIT: Chen Po-wen Milk Su. CAST: Lin Ching-tai, Umin Boya, Masanobu Ando.

After the initial uprising at Wushe, Mona Rudao faces an unwinnable guerrilla war against the militarily superior Japanese plus fierce rival Seediq clans. He and his followers must fight not just for their lives but for their dignity and honor—so that they can truly be “Seediq Bale” or “real men”.

Digital video, color, Seediq, Japanese and Taiwanese w/ English s/t, 131 min.

 

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UCLA Center for Chinese Studies and UCLA Film & Television Archive in association with Taiwan Academy present a Taiwan film series:

 

WHAT TIME IS IT THERE? TAIWAN AS CROSSROADS

(Feb. 15 to March 19, 2014; Billy Wilder Theater, Hammer Museum)

A national cinema distinguishes itself by filmmakers and films, but also, of course, by its coherence around themes and fascinations. The cinema of Taiwan, with its own world-renowned auteurs and healthy spread of popular genres, offers a striking distinction that appears in many guises: the formulation of Taiwan as a locus of plurality, liminality, change, exchange, and other de-centering principles that construct the nation not so much as a place of foundations, but of negotiations.  In part, this is certainly a response to Taiwan’s national history, which also informs the national imaginary: an experience of massive migrations and multiple overlapping colonizations spanning many centuries, as well as economic shifts that have witnessed increasingly frenetic flows of capital and labor in recent years. Corresponding with paradigm shifts in scholarly thought about the reality and image of Taiwan in the world, this film series, featuring new and classic comedies, dramas, formally rigorous art films and historical epics, offers visions of a nation acting not only as an origin or a destination, but as a relay point or “hub” through which people, art, investment, technology and social change pass, undergoing creative adaptations and transformations. This vision in turn presents a rewarding insight into Taiwan’s image and self-image, and accounts for much of the beauty and dynamism of its cinematic output. We are pleased to offer this eclectic selection, magnifying all of these themes. 

 

Curated by Robert Chi and Shannon Kelley, this film series is part of the “Spotlight Taiwan” program at the UCLA Center for Chinese Studies, with financial support from the Taiwan Ministry of Culture. 

 

Special thanks to: Susan Pertel Jain—UCLA; Benjamin Chi—Taiwan Academy; Teresa Huang—Chinese Taipei Film Archive; Jennifer Jao; Ivy Chang—Taipei Film Commission; Enga Chang—Central Motion Picture Corporation.

 

Thanks to: Dennis Lo, Chang Chuti.