What is it about?
We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and filmmakers. The films resulting from these collaborations repositioned Taiwan as a multilingual, multicultural and democratic nation. These shifts in media facilitated the circulation of these new narratives. Filmmakers could circumvent censorship at home and reach international audiences at Western film festivals. The international success ensured the wide circulation of these narratives in Taiwan.
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Why is it important?
This study argues that media such as film circulates literary work and helps its nation get recognised internationally more effectively than literary translation, which is what received wisdom thinks.
Perspectives
Chu Tien-wen/Zhu Tianwen has received inadequate recognition as a screenwriter, not because she is female, but because most screenwriters are undervalued. They are the masterminds behind brilliant films and should be credited more. This is her first full-length, single-author article in English and by bringing together Taiwan literature and Taiwan cinema, it does her justice as a wonderful screenwriter in the Taiwan New Cinema period.
Jessica Siu-yin Yeung
Lingnan University
Read the Original
This page is a summary of: Intermedial Translation as Circulation, Journal of World Literature, November 2020, Brill,
DOI: 10.1163/24056480-00504005.
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