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Abstract
The history of geopolitics in Asia is the main theme of most of Shake's works. She is particularly interested in the construction of Taiwanese identity and its history. In the artist statement, she says that she focuses on the experimentation of narrative in systems of cinematic language, symbol, and representation as well as relations and construction of collective/individual memory. If we assume that “cinematic writing” as her method of creation, and that she presents her work as video art, this allows us to problematize the question of “the” history of cinema firstly. Secondly, “cinema” and “history”, two terms respectively create a dialogue between archives and memories in the field of art and that of geopolitical history in Asia. In addition, the body plays an important role that is able to initiate a process of visualization, audibilisation, and tangibilisation. So, what does “cinematic writing” mean in her works? What are the transformations of “cinema” and “writing” when cinematic writing enters the regime of contemporary art? How the representation of the body responds to the question of identity and history? In this article, we will examine these questions through Return, The Subduction Zone, Taipei Park and 1989s.
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Keywords:
Cinematic writing, body, rewriting history, cinema, Shake
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