The Strait Story

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The Strait Story
Directed by Huang Yu-shan
Written by Huang Yu-shan
Starring Freddy Lim
Yuki Hsu
Jun-Ning
How-Jie Ho
Lin Hong-hsiang
Huang Tsai-yi
羅浥薇
Release date
October 21, 2005 (Taiwan)
Running time
105 min.
Language Taiwanese
Mandarin
Japanese

The Strait Story, or Fu shih kuang ying 南方紀事之浮世光影 as it is known in its country of origin, is a 2005 Taiwanese film directed by Huang Yu-shan.

Plot summary[edit]

The movie tells the story of a young but noteworthy Taiwanese sculptor and painter, Huang Ching-cheng.[1] He has already completed his studies in Tokyo and even had a few successful exhibitions. It is war, he plans to see his parents in Taiwan and then wants to go on to Peking, in order to deepen his knowledge of the metier. But as the artist is returning from Japan with his fiancée, a young pianist, both - together with hundreds of others - lose their lives on board the passenger liner Takachiho Maru that is tragically torpedoed by the American submarine USS Kingfish (SS-234) in March, 1943, while on its way from Kobe to Keelung (Taiwan).

In flashbacks, we do not only see Huang in his Tokyo studio, or attending an exhibition of his works, or on the steamship mentioned, looking forward to an encounter with his father, mother, and elder brother. We also see Huang as a boy and adolescent, growing up on the island of Penghu, situated in the Taiwan Straits. It is here that we encounter him as a dreaming but also rebellious youth, in love with a girl from a poor family that he could never have married. We also learn about his father, a businessman who wanted his son to follow in his footsteps as a pharmacist and therefore did not support him anymore when Ching-cheng decided to become an artist.

The narration switches between present and past. An important strand of the narration is focused on the restoration of 'lost' works created by the artist that were discovered recently - a difficult task that is carefully accomplished by a young, physically handicapped (or ill?) art restorer.

The movie is also focused on the young art restorer’s search for traces of Huang (his grave, for instance), and on her attempt to reconstruct aspects of his biography. The film is a celebration of regional South Taiwan culture, of the land, its people and their contribution to the common Chinese heritage. Incidentally, Ching-cheng Huang is a relative of the filmmaker Yu-shan Huang.

Cinematic approach[edit]

Though not radically innovative, the film cannot be considered ordinary entertainment devoid of aesthetic qualities. On the contrary, it is fairly close to the art film genre. As the Taiwanese critic Shen-chon Lai points out, The film’s language that is artfully employed displays great similarities with the stream of consciousness technique of contemporary literature and relies on such artistic devices as ‘point of view’. Lai notes both its realism, for Taiwan's cultural history is fully reflected, and the fact that the reality that is reconstructed is … melted in a poetic atmosphere.[2] The critic Lingzhen Wang observes that The Strait Story, just like Huang’s subsequent feature film, Song of Chatian Mountain, combine(s) historical materials, including those censored in the past, personal memories, and a distinctive documentary style.[3]

References[edit]

  1. ^ Regarding Ching-cheng Huang, consult for instance: Meizhen Zeng et al., Taiwan mei shu yu shehui mai dong. Kaohsiung (Gaoxiong shili meishuguan / Kaohsiung Modern Art Museum) 2000, 158pp.
  2. ^ Hsien-tsung Lai [= pinyin: Shen-chon Lai], “Chaoyue fushi de yishu guanghua” [The Glory of Transcendent Art], in: The Liberty Times, Nov. 3, 2005 [print edition]. See also: Shen-chon Lai [=Hsien-tsung Lai], “A Glow of Art That Transcends the Floating World. Huang Yu-Shan’s Film ‘The Strait Story’”, in: Art in Society (ISSN 1618-2154), No.12, [1] – This article is an English version of the article printed in the Liberty Times.
  3. ^ Linzhen Wang, “Chinese Woman’s Cinema”, in: Yingjin Zhang (ed.), A Companion to Chinese Cinema. Malden (Wiley-Blackwell) 2012, p.341.

Further reading[edit]

  • Kate E. Taylor (ed.), dekalog 4: On East Asian Filmmakers. Brighton, UK (Wallflower Press) 2011
  • Yingjin Zhang (ed.), A Companion to Chinese Cinema. Malden (Wiley-Blackwell) 2012

External links[edit]