Ella Raidel | Nanyang Technological University (original) (raw)
Papers by Ella Raidel
International Journal of Film and Media Arts, Oct 3, 2022
In her interdisciplinary work-films, videos, writings-she focuses on the socio-cultural impact of... more In her interdisciplinary work-films, videos, writings-she focuses on the socio-cultural impact of globalization with a focus on urbanization and Asian cinemas. She is interested in reflexive forms of narration in questioning the representation in documentary films. Her film-making corresponds with her writings on Sinophone cinema for researching the poetics in image-making. Her work has been presented and distinguished in numerous international film festivals, exhibitions, and biennials. She is the co-editor (with Peng Hsiao-yen) of Altering Archives, The Politics of Memory in Sinophone Cinemas and Image Culture (Routledge Contemporary China Series 2018) and has publicized on on the Malaysian born and Taiwan based filmmaker Tsai Ming-Liang.
JAR Journal for Artistic Research, May 26, 2022
Of Haunted Spaces is an art-based research project focusing on Chinese ghost cities. This exposit... more Of Haunted Spaces is an art-based research project focusing on Chinese ghost cities. This exposition follows the making of an essay film that combines acting and documenting to indicate the phantasmatic aspect of global capitalism. In China, the need to maintain and boost economic growth through surplus production results in more cities being built than are needed. This exposition investigates how global capitalism is affecting and haunting living conditions today. Urban spaces, which were once a grandiose vision for boosting prosperity through collective fantasy, have now become exhausted and empty sites. Ella Raidel develops a performative documentary film to create a discursive space in which facts, analyses, commentaries, and references are woven into one narrative.
Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone em... more Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone embodies differences, contemporary Sinophone cinemas in Taiwan, Hong Kong, and the People’s Republic of China invest various images of contested politics in order to assert different histories and self-consciousness. As such, Sinophone cinemas and image production function as archives, with the capability of reinterpreting the multiple dimensions of past and present. The Politics of Memory in Sinophone Cinemas and Image Culture investigates Sinophone films and art projects that express this desire for archiving and reconfiguring the past. Comprising ten chapters, this book brings together contributors from an array of disciplines - artists, filmmakers, curators, film critics, and literary scholars - to grapple with the creative ambiguities of Sinophone cinemas and image culture. Blending eclectic methods of scholarly research, knowledge-making, and art-making into a new discursive space, the chapters address the diverse complexities of the cinematic culture and image production in Sinitic language regions. This book is a valuable resource for students and scholars of film studies, China studies, East Asian studies, Taiwan studies, and Sinophone studies, as well as professionals who work in the film industry.
Frontiers of Literary Studies in China, 2017
This paper sets out to examine the "exhausted narrative" in aesthetic and poetic experi... more This paper sets out to examine the "exhausted narrative" in aesthetic and poetic experience, revealing the affect and effect of Tsai Ming-Liang's film-making. He is notable for his obsession with ruins, defunct construction sites, abandoned buildings, and film itself as a modern ruin. These sites are a reminder of the alienated subjects within its historical context, a fragmented narrative, and an uncertain or failed future to come, just like the ruin-a chapter of a halted story. Tsai's films are not only full of ruinous images and bodies, but even the fragmented narratives are ruinous, turning in elliptical circles, aiming toward their morbid ending until their total exhaustion. This cinematic ouroboros ophis will be discussed in two aspects: first, as an aesthetic practice, and second, as the parallelism between the onand off-screen reality of the mode of production and reception in the cinematic experience. The term "exhausted narratives" refers to the...
Movingworlds: A Journal of Transcultural Writings, 2021
A conversation on What About China? (2021) between Trinh T. Minh-ha and Ute Meta Bauer, presented... more A conversation on What About China? (2021) between Trinh T. Minh-ha and Ute Meta Bauer, presented by Ella Raidel
Situated in the realm between ancient wisdom, avant-garde experiment, and popular folk acumen, the film What About China? features a multiplicity of voices and narratives embedded in a rhythmic conversation between the still and the moving image. Trinh creates a work that is interrogative and reflexive by nature; one that exposes the naivety of a cinematic technology and ideology that claims increasing unmediated access to reality.
The conversation between Trinh T. Minh-ha and Ute Meta Bauer took place online at the opening of the solo-exhibition Trinh T. Minh-ha. Films at NTU CCA on 17 October 2020 to 28 February 2021.
Front. Lit. Stud. China 2017, 11(2): 329–351, 2017
This paper sets out to examine the "exhausted narrative" in aesthetic and poetic experience, reve... more This paper sets out to examine the "exhausted narrative" in aesthetic and poetic experience, revealing the affect and effect of Tsai Ming-Liang's film-making. He is notable for his obsession with ruins, defunct construction sites, abandoned buildings, and film itself as a modern ruin. These sites are a reminder of the alienated subjects within its historical context, a fragmented narrative, and an uncertain or failed future to come, just like the ruin-a chapter of a halted story. Tsai's films are not only full of ruinous images and bodies, but even the fragmented narratives are ruinous, turning in elliptical circles, aiming toward their morbid ending until their total exhaustion. This cinematic ouroboros ophis will be discussed in two aspects: first, as an aesthetic practice, and second, as the parallelism between the onand off-screen reality of the mode of production and reception in the cinematic experience. The term "exhausted narratives" refers to the processes of writing meta-fiction, as that of "re-orchestrating" and "re-editing" the past with respect to the present, and to inscribing Tsai's own narrative universe.
The Politics of Memory in Sinophone Cinemas and Image Culture; Routledge, 2017
The chapter accounts for the missing as the leitmotifs in Tsai Ming Ling’s work in the meta-cinem... more The chapter accounts for the missing as the leitmotifs in Tsai Ming Ling’s work in the meta-cinematic context, where the politics of memory turns into a fantasy and reappears in reality. Malaysian born director Tsai Ming-Liang stands out in Taiwan New Cinema as a unique auteur by sharing his own experience towards his Chinese identity. The Chinese cultural motif appears not as the authentic tradition, but as a blurred concept transported through popular cultures such as cinema, literature and music. The legacy of China, as much as the ancestral homeland is loaded with historical significance, is altered and reshaped through the perception of cinema. Sinophone Cinema, as a form of collective visual memory, plays a crucial role in the constitution of the mystified China by surfacing a fictional past, which in turn staged a world by its own. It renders the past in moving images and infiltrates it with imaginary content. Everything from the past becomes mythical; the Chinese-ness starts as the fictional, and the cinema is the place to be called home.
Routledge, 2017
Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone em... more Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone embodies differences, contemporary Sinophone cinemas in Taiwan, Hong Kong, and the People’s Republic of China invest various images of contested politics in order to assert different histories and self-consciousness. As such, Sinophone cinemas and image production function as archives, with the capability of reinterpreting the multiple dimensions of past and present. The Politics of Memory in Sinophone Cinemas and Image Culture investigates Sinophone films and art projects that express this desire for archiving and reconfiguring the past. Comprising ten chapters, this book brings together contributors from an array of disciplines - artists, filmmakers, curators, film critics, and literary scholars - to grapple with the creative ambiguities of Sinophone cinemas and image culture. Blending eclectic methods of scholarly research, knowledge-making, and art-making into a new discursive space, the chapters address the diverse complexities of the cinematic culture and image production in Sinitic language regions.
Books by Ella Raidel
Routledge, 2017
Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone em... more Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone embodies differences, contemporary Sinophone cinemas in Taiwan, Hong Kong, and the People’s Republic of China invest various images of contested politics in order to assert different histories and self-consciousness. As such, Sinophone cinemas and image production function as archives, with the capability of reinterpreting the multiple dimensions of past and present. The Politics of Memory in Sinophone Cinemas and Image Culture investigates Sinophone films and art projects that express this desire for archiving and reconfiguring the past. Comprising ten chapters, this book brings together contributors from an array of disciplines - artists, filmmakers, curators, film critics, and literary scholars - to grapple with the creative ambiguities of Sinophone cinemas and image culture. Blending eclectic methods of scholarly research, knowledge-making, and art-making into a new discursive space, the chapters address the diverse complexities of the cinematic culture and image production in Sinitic language regions. This book is a valuable resource for students and scholars of film studies, China studies, East Asian studies, Taiwan studies, and Sinophone studies, as well as professionals who work in the film industry.
…
Schüren. Marburger Schriften zur Medienforschung, 2009
Tsai Ming-Liang (geb. 1957) stammt aus Malaysia und lebt in Taiwan als Filmproduzent, Drehbuchaut... more Tsai Ming-Liang (geb. 1957) stammt aus Malaysia und lebt in Taiwan als Filmproduzent, Drehbuchautor, Theater- und Filmregisseur. Er gewann 1994 den Goldenen Löwen in Venedig und 1997 den Silbernen Bären in Berlin.
Die Arbeit untersucht Tsai Ming-Liangs Werk unter seinen sozialen und politischen Bedingungen und bezieht sich dabei stets auf seine persönlichen Erfahrungen und Beobachtungen der sozialen Realität Taiwans.
Tsai Ming-Liang stilisiert die Realität zu einer filmischen Wirklichkeit. Sprachlosigkeit und Entfremdung gelten in Tsais Filmen als Symptom eines Verlusts von kultureller Identität und sozialer Integrität und können vor dem Hintergrund Taiwans politischer Situation betrachtet werden: Ein demokratischer Staat ohne nationale Identität, der durch die territorialen Ansprüche der Volkrepublik China international isoliert ist. Seine Protagonisten stammen aus den Randzonen der Gesellschaft, sie sind mit ihren Körpern in Räumen gefangen, wie das Land im globalen Kontext.
Die Arbeit ist die erste umfassende, deutschsprachige Werkanalyse des malaysischen Filmregisseurs.
Talks by Ella Raidel
Ray Filmmagazine, 2021
Die chinesische Filmemacherin Zhu Shengze über ihren Film "A River Runs, Turns, Erases, Replaces"... more Die chinesische Filmemacherin Zhu Shengze über ihren Film "A River Runs, Turns, Erases, Replaces", über ihre Heimatstadt Wuhan und über ihre Inspiration durch den italienischen Schriftsteller Italo Calvino.
Ray Film magazine, 2021
Das Gespenst des Kapitalismus, Interview mit dem aus Singapur stammenden Künstlers Ho Rui An anlä... more Das Gespenst des Kapitalismus, Interview mit dem aus Singapur stammenden Künstlers Ho Rui An anlässlich seiner Ausstellung „The Ends of a Long Boom“ in der Kunsthalle Wien. Ein Gespräch über künstlerische Recherche und Praxis, über den Horrorfilm und über Denkanstöße durch einen Wechsel der historischen Perspektive.
Postcolonial Futures. Moving Worlds: A Journal of Transcultural Writings. , 2021
What about China? (Part I of II, 2020–21) by Trinh T. Minh-ha was initiated by NTU CCA Singapore,... more What about China? (Part I of II, 2020–21) by Trinh T. Minh-ha was initiated by NTU CCA Singapore, and co-commissioned with Rockbund Art Museum (RAM), Shanghai, the film takes the notion of harmony in China as a site of creative manifestation, and draws from footage shot in 1993 and 1994, in Eastern and Southern China, specifically from provinces Anhui, Hubei, Zhejiang, Fujian and Guangxi—linked to the remote origins of Chinese civilisation.
A conversation between Trinh T. Minh-ha and Ute Meta Bauer on What about China? presented by Ella Raidel in Moving Worlds: A Journal of Transcultural Writings.
International Journal of Film and Media Arts, Oct 3, 2022
In her interdisciplinary work-films, videos, writings-she focuses on the socio-cultural impact of... more In her interdisciplinary work-films, videos, writings-she focuses on the socio-cultural impact of globalization with a focus on urbanization and Asian cinemas. She is interested in reflexive forms of narration in questioning the representation in documentary films. Her film-making corresponds with her writings on Sinophone cinema for researching the poetics in image-making. Her work has been presented and distinguished in numerous international film festivals, exhibitions, and biennials. She is the co-editor (with Peng Hsiao-yen) of Altering Archives, The Politics of Memory in Sinophone Cinemas and Image Culture (Routledge Contemporary China Series 2018) and has publicized on on the Malaysian born and Taiwan based filmmaker Tsai Ming-Liang.
JAR Journal for Artistic Research, May 26, 2022
Of Haunted Spaces is an art-based research project focusing on Chinese ghost cities. This exposit... more Of Haunted Spaces is an art-based research project focusing on Chinese ghost cities. This exposition follows the making of an essay film that combines acting and documenting to indicate the phantasmatic aspect of global capitalism. In China, the need to maintain and boost economic growth through surplus production results in more cities being built than are needed. This exposition investigates how global capitalism is affecting and haunting living conditions today. Urban spaces, which were once a grandiose vision for boosting prosperity through collective fantasy, have now become exhausted and empty sites. Ella Raidel develops a performative documentary film to create a discursive space in which facts, analyses, commentaries, and references are woven into one narrative.
Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone em... more Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone embodies differences, contemporary Sinophone cinemas in Taiwan, Hong Kong, and the People’s Republic of China invest various images of contested politics in order to assert different histories and self-consciousness. As such, Sinophone cinemas and image production function as archives, with the capability of reinterpreting the multiple dimensions of past and present. The Politics of Memory in Sinophone Cinemas and Image Culture investigates Sinophone films and art projects that express this desire for archiving and reconfiguring the past. Comprising ten chapters, this book brings together contributors from an array of disciplines - artists, filmmakers, curators, film critics, and literary scholars - to grapple with the creative ambiguities of Sinophone cinemas and image culture. Blending eclectic methods of scholarly research, knowledge-making, and art-making into a new discursive space, the chapters address the diverse complexities of the cinematic culture and image production in Sinitic language regions. This book is a valuable resource for students and scholars of film studies, China studies, East Asian studies, Taiwan studies, and Sinophone studies, as well as professionals who work in the film industry.
Frontiers of Literary Studies in China, 2017
This paper sets out to examine the "exhausted narrative" in aesthetic and poetic experi... more This paper sets out to examine the "exhausted narrative" in aesthetic and poetic experience, revealing the affect and effect of Tsai Ming-Liang's film-making. He is notable for his obsession with ruins, defunct construction sites, abandoned buildings, and film itself as a modern ruin. These sites are a reminder of the alienated subjects within its historical context, a fragmented narrative, and an uncertain or failed future to come, just like the ruin-a chapter of a halted story. Tsai's films are not only full of ruinous images and bodies, but even the fragmented narratives are ruinous, turning in elliptical circles, aiming toward their morbid ending until their total exhaustion. This cinematic ouroboros ophis will be discussed in two aspects: first, as an aesthetic practice, and second, as the parallelism between the onand off-screen reality of the mode of production and reception in the cinematic experience. The term "exhausted narratives" refers to the...
Movingworlds: A Journal of Transcultural Writings, 2021
A conversation on What About China? (2021) between Trinh T. Minh-ha and Ute Meta Bauer, presented... more A conversation on What About China? (2021) between Trinh T. Minh-ha and Ute Meta Bauer, presented by Ella Raidel
Situated in the realm between ancient wisdom, avant-garde experiment, and popular folk acumen, the film What About China? features a multiplicity of voices and narratives embedded in a rhythmic conversation between the still and the moving image. Trinh creates a work that is interrogative and reflexive by nature; one that exposes the naivety of a cinematic technology and ideology that claims increasing unmediated access to reality.
The conversation between Trinh T. Minh-ha and Ute Meta Bauer took place online at the opening of the solo-exhibition Trinh T. Minh-ha. Films at NTU CCA on 17 October 2020 to 28 February 2021.
Front. Lit. Stud. China 2017, 11(2): 329–351, 2017
This paper sets out to examine the "exhausted narrative" in aesthetic and poetic experience, reve... more This paper sets out to examine the "exhausted narrative" in aesthetic and poetic experience, revealing the affect and effect of Tsai Ming-Liang's film-making. He is notable for his obsession with ruins, defunct construction sites, abandoned buildings, and film itself as a modern ruin. These sites are a reminder of the alienated subjects within its historical context, a fragmented narrative, and an uncertain or failed future to come, just like the ruin-a chapter of a halted story. Tsai's films are not only full of ruinous images and bodies, but even the fragmented narratives are ruinous, turning in elliptical circles, aiming toward their morbid ending until their total exhaustion. This cinematic ouroboros ophis will be discussed in two aspects: first, as an aesthetic practice, and second, as the parallelism between the onand off-screen reality of the mode of production and reception in the cinematic experience. The term "exhausted narratives" refers to the processes of writing meta-fiction, as that of "re-orchestrating" and "re-editing" the past with respect to the present, and to inscribing Tsai's own narrative universe.
The Politics of Memory in Sinophone Cinemas and Image Culture; Routledge, 2017
The chapter accounts for the missing as the leitmotifs in Tsai Ming Ling’s work in the meta-cinem... more The chapter accounts for the missing as the leitmotifs in Tsai Ming Ling’s work in the meta-cinematic context, where the politics of memory turns into a fantasy and reappears in reality. Malaysian born director Tsai Ming-Liang stands out in Taiwan New Cinema as a unique auteur by sharing his own experience towards his Chinese identity. The Chinese cultural motif appears not as the authentic tradition, but as a blurred concept transported through popular cultures such as cinema, literature and music. The legacy of China, as much as the ancestral homeland is loaded with historical significance, is altered and reshaped through the perception of cinema. Sinophone Cinema, as a form of collective visual memory, plays a crucial role in the constitution of the mystified China by surfacing a fictional past, which in turn staged a world by its own. It renders the past in moving images and infiltrates it with imaginary content. Everything from the past becomes mythical; the Chinese-ness starts as the fictional, and the cinema is the place to be called home.
Routledge, 2017
Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone em... more Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone embodies differences, contemporary Sinophone cinemas in Taiwan, Hong Kong, and the People’s Republic of China invest various images of contested politics in order to assert different histories and self-consciousness. As such, Sinophone cinemas and image production function as archives, with the capability of reinterpreting the multiple dimensions of past and present. The Politics of Memory in Sinophone Cinemas and Image Culture investigates Sinophone films and art projects that express this desire for archiving and reconfiguring the past. Comprising ten chapters, this book brings together contributors from an array of disciplines - artists, filmmakers, curators, film critics, and literary scholars - to grapple with the creative ambiguities of Sinophone cinemas and image culture. Blending eclectic methods of scholarly research, knowledge-making, and art-making into a new discursive space, the chapters address the diverse complexities of the cinematic culture and image production in Sinitic language regions.
Routledge, 2017
Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone em... more Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone embodies differences, contemporary Sinophone cinemas in Taiwan, Hong Kong, and the People’s Republic of China invest various images of contested politics in order to assert different histories and self-consciousness. As such, Sinophone cinemas and image production function as archives, with the capability of reinterpreting the multiple dimensions of past and present. The Politics of Memory in Sinophone Cinemas and Image Culture investigates Sinophone films and art projects that express this desire for archiving and reconfiguring the past. Comprising ten chapters, this book brings together contributors from an array of disciplines - artists, filmmakers, curators, film critics, and literary scholars - to grapple with the creative ambiguities of Sinophone cinemas and image culture. Blending eclectic methods of scholarly research, knowledge-making, and art-making into a new discursive space, the chapters address the diverse complexities of the cinematic culture and image production in Sinitic language regions. This book is a valuable resource for students and scholars of film studies, China studies, East Asian studies, Taiwan studies, and Sinophone studies, as well as professionals who work in the film industry.
…
Schüren. Marburger Schriften zur Medienforschung, 2009
Tsai Ming-Liang (geb. 1957) stammt aus Malaysia und lebt in Taiwan als Filmproduzent, Drehbuchaut... more Tsai Ming-Liang (geb. 1957) stammt aus Malaysia und lebt in Taiwan als Filmproduzent, Drehbuchautor, Theater- und Filmregisseur. Er gewann 1994 den Goldenen Löwen in Venedig und 1997 den Silbernen Bären in Berlin.
Die Arbeit untersucht Tsai Ming-Liangs Werk unter seinen sozialen und politischen Bedingungen und bezieht sich dabei stets auf seine persönlichen Erfahrungen und Beobachtungen der sozialen Realität Taiwans.
Tsai Ming-Liang stilisiert die Realität zu einer filmischen Wirklichkeit. Sprachlosigkeit und Entfremdung gelten in Tsais Filmen als Symptom eines Verlusts von kultureller Identität und sozialer Integrität und können vor dem Hintergrund Taiwans politischer Situation betrachtet werden: Ein demokratischer Staat ohne nationale Identität, der durch die territorialen Ansprüche der Volkrepublik China international isoliert ist. Seine Protagonisten stammen aus den Randzonen der Gesellschaft, sie sind mit ihren Körpern in Räumen gefangen, wie das Land im globalen Kontext.
Die Arbeit ist die erste umfassende, deutschsprachige Werkanalyse des malaysischen Filmregisseurs.
Ray Filmmagazine, 2021
Die chinesische Filmemacherin Zhu Shengze über ihren Film "A River Runs, Turns, Erases, Replaces"... more Die chinesische Filmemacherin Zhu Shengze über ihren Film "A River Runs, Turns, Erases, Replaces", über ihre Heimatstadt Wuhan und über ihre Inspiration durch den italienischen Schriftsteller Italo Calvino.
Ray Film magazine, 2021
Das Gespenst des Kapitalismus, Interview mit dem aus Singapur stammenden Künstlers Ho Rui An anlä... more Das Gespenst des Kapitalismus, Interview mit dem aus Singapur stammenden Künstlers Ho Rui An anlässlich seiner Ausstellung „The Ends of a Long Boom“ in der Kunsthalle Wien. Ein Gespräch über künstlerische Recherche und Praxis, über den Horrorfilm und über Denkanstöße durch einen Wechsel der historischen Perspektive.
Postcolonial Futures. Moving Worlds: A Journal of Transcultural Writings. , 2021
What about China? (Part I of II, 2020–21) by Trinh T. Minh-ha was initiated by NTU CCA Singapore,... more What about China? (Part I of II, 2020–21) by Trinh T. Minh-ha was initiated by NTU CCA Singapore, and co-commissioned with Rockbund Art Museum (RAM), Shanghai, the film takes the notion of harmony in China as a site of creative manifestation, and draws from footage shot in 1993 and 1994, in Eastern and Southern China, specifically from provinces Anhui, Hubei, Zhejiang, Fujian and Guangxi—linked to the remote origins of Chinese civilisation.
A conversation between Trinh T. Minh-ha and Ute Meta Bauer on What about China? presented by Ella Raidel in Moving Worlds: A Journal of Transcultural Writings.