Master of Arts (MA), Ohio University, 2012, Film (Fine Arts)

This thesis, with the particular focus on Taiwanese films set in Taipei, investigates how the Taiwanese cinema, through its diverse treatments of history and memory, enacts its role as a cinematic interpretation of the envisioning of Taiwanese national identity within the transnational context. The first chapter centers on the Taiwanese New Cinema's portrayal of “The Taiwanese Experience,” which refigures Taipei as a site of cultural hybridization, and further contends against the Kuomintang's configuration of Taipei as a site coherent to the nationalist One-Chinese narrative. The second chapter examines the instability of recollection, and the artificial and invented quality of history and historiography through the emerging Post Taiwan New Cinema's utilization of collage of fragmentary shots that shuttle between Taiwan's past and present. The third chapter explores the Post Taiwan New Cinema's depiction of “The Taipei Experience,” which transfigures Taipei as a postcolonial city of layers of historical inscriptions, and therefore suggests an alternative route to locate Taiwan and the Taiwanese identity within the transnational context. With the concentration on the context of postcolonialism and the awareness of what Taiwan is and has been, this thesis discovers that the cinematic layerings of different phases of Taiwan's past and present can illustrate the emergence of “The Taipei Experience” through the erasure of “The Taiwanese Experience.” This thesis therefore reevaluates “The Taipei Experience” as an alternative embodiment of “The Taiwanese Experience,” which in consequence paves a way for an innovative perspective to (re)imagine and (re)negotiate the Taiwanese sense of self.

Committee: Louis-Georges Schwartz PhD (Committee Chair); Ofer Eliaz PhD (Committee Member); Michael B. Gillespie PhD (Committee Member) Subjects: Asian Studies; Film Studies; Fine Arts; History; Motion Pictures

Doctor of Philosophy (PhD), Ohio University, 2014, Interdisciplinary Arts (Fine Arts)

This dissertation examines the relationship between art and urban renewal through case studies in Taipei, Taiwan, from 2010-2013. The common use of art by artists, activists, and residents to critique neoliberal urban policies demonstrates that art can help scrutinize social systems and prompt critical reflection. The main objectives of these protest artworks are improved housing rights, equitable urban planning, and increased civic participation in policy making. The various art forms employed include sculpture, writings, graffiti, film, photography, music, dance, and performance art. The interdisciplinary and collaborative nature of many artworks is notable, and leads to a broader definition of Participatory Art as an art form that not only relies on but also can be initiated by members of the public. The case studies also illustrate that conviviality and criticality can co-exist in Participatory Art. Taiwan's art and activism for housing rights were characterized by the vigorous and persistent involvement of university students and the cooperation between citizens from dissimilar socioeconomic backgrounds. The language and imagery incorporated in the artworks produced a theatricality that was simultaneously amiable, jovial, resistant, and combative. The convivial and militant tones concurrent in these works encapsulate Taiwan's housing rights movement. These characteristics also reflect cultural elements unique to Taiwan, which were influenced by the country's colonial history. A broader and richer interpretation of Participatory Art emerges from its diverse adaptations in the featured art examples, which illustrate multiple approaches to facilitating socially-minded artistic practices through public participation. Furthermore, this research affirms Participatory Art's ability to agitate problematic dynamics in the (re)construction of cities in the globalized present.

Committee: Charles Buchanan (Committee Chair); Marina Peterson (Committee Member); Andrea Frohne (Committee Member); Jennie Klein (Committee Member) Subjects: Art Criticism; Art History; Asian Studies; Sociology; Urban Planning

PHD, Kent State University, 2014, College of the Arts / School of Music, Hugh A. Glauser

This dissertation discusses the evolution of musical output by three modern Chinese orchestras within Greater China, which is composed of Mainland China (Shanghai), Hong Kong, and Taiwan (Taipei). Each of these regions developed a different cultural identity and political ideology. The discussion focuses on the foundation of professional Chinese orchestras founded in above regions, and commonly known as the Shanghai Chinese Orchestra (SCO), Hong Kong Chinese Orchestra (HKCO) and Taipei Chinese Orchestra (TCO). The dissertation also focuses on the musical relationship between these orchestras to highlight the development of similar musical style across Greater China that resulted from shared influences in a prolonged contact between regions. This dissertation is divided into two parts. In Part I—The Early History of the Chinese Orchestra from 1920 to 1986—chapters are designed to establish the cultural and political foundation of the original orchestra on Mainland China and the influences on its musical style. In this section I also argue that the historical development that lead to the division of China gave rise to the foundation of other orchestras in Hong Kong and Taiwan, which started with similar musical styles until they developed independent styles in their respective regions. In Part II—The Identities of Orchestras During the Period of Frequent Cultural Exchange within Greater China—focuses on the early stages of the orchestras and their development from 1987 to 1996, and examines the process of each orchestra to establish its musical and cultural identity at the end of the martial law period (1997-present). In this part, I also argue that the end of the martial period brought more cultural exchange within Greater China and inspired a search for distinct regional identities while maintaining the original cultural model. Further attention is given to the musical exchange among the three orchestras to highlight the infl (open full item for complete abstract)

Committee: Kazadi Mukuna Dr. (Advisor); Richard Feinberg Dr. (Committee Member); Ralph Lorenz Dr. (Committee Member); Theodore Albrecht Dr (Committee Member) Subjects: Asian Studies; Cultural Anthropology; Ethnic Studies; History; International Relations; Modern History; Music; Performing Arts