Chiu Maoching, MA student, Graduate Institute of Taiwan Literature, National Taiwan University
Love, Ideals and Teardrops – Literary Cinema and the Land (2010) is a book project sponsored by the Republic of China Executive Yuan Council for Cultural Affairs. Edited by Zhang Henghao, with articles by Li Zhiqiang, Lin Mingchang, Liang Xuan, Zhang Changyan, Chen Sanzi, Chen Ruxiu, and Huang Yushan, the work is an addition to the Council’s 2007 “Reading Literary Landscapes” publishing project. Love, Ideals and Teardrops incorporates thirty classic Taiwanese “literary films” into discussions of “literature and landscape.” In a forward, “Dream Light, Illuminating Taiwan,” chief editor Zhang Henghao discusses the subtle relationship between literature and film adaptations of literary works, the writing thoughtful and profound.
Based on the films’ production dates and different cinematic styles, project directors put together a committee of fourteen scholars and experts from various academic and intellectual backgrounds, each of whom discussed from one to three motion pictures, resulting in an illustrated volume of nearly eight hundred pages. The work is chronologically divided into five parts according to film production dates, ranging from Many Enchanting Nights (1966), an adaptation of an eponymous Qiong Yao (Chiung Yao) romance, to 2008’s 1895, a Hakka-language film based on Li Qiao’s novel My Love to Mother Earth. Lengthy discussions of individual motion pictures bring writers’ expertise into full play, the articles providing in-depth analyses of various eras ‘“literary movies” and the writings from which they were adapted, as well discussions of the socio-historical contexts that gave them birth.
As an added measure, editors invited photographer and poet Lu Hanxiu to provide illustrations for the book. Over a period of two months, Lu visited nearly a hundred and fifty scenic locales in Taiwan, shooting landscapes featured in the original texts, film adaptations, and book articles, adding his own written impressions of the terrain he traversed. Lu’s pictures and words leave a precious first-hand record of Taiwan’s natural environment in the twenty-first century, a witness to the contrast between past and present. The book also features appendices listing landscape sites and a film chronology. The former provides instructions for readers who wish to visit the scenic areas, from Keelung’s Badouzi and Turtle Mountain Island in the north to Kaohsiung’s Love River and the town of Meinong in the south, and even the outlying Pescadores Islands (Penghu). The latter provides basic information on each film, including date of release, director, screenwriter, the original work on which it was based, the author of that work, and awards received. These appendices are important keystones for understanding Taiwanese literature, landscapes, and films.
|Related Literary Themes：||Landscape in Literature|