Another equally ecstatic winner was 29-year-old Singaporean director Anthony Chen, who won the best feature and best new director gongs for “Ilo Ilo.” Chen, who was the dark horse of this year’s competition, said it was Taiwan’s New Wave Cinema that set him on the path to becoming a director.
This shows the mysterious power of films or culture to move people. When the Golden Horse Awards began in 1963, they were the first dedicated to Chinese-language movies. The awards’ 50th anniversary received extra attention.
Taiwan’s internationally-renowned director Ang Lee chaired the jury, Hong Kong’s Maggie Cheung was the event’s ambassador, and the winners of best actor and actress awards from the past 49 years were invited. Some of them rarely make public appearance these days, and their attendance was particularly moving. Clips of past winning movies also evoked strong feelings of nostalgia.
Even more special was that the best feature winner came from Singapore; best director from Malaysia; best actress, Zhang Ziyi, from mainland China; best actor was Taiwan’s Lee Kang-sheng; best supporting actor, Li Xuejian, was also from mainland China; best supporting actress, Yeo Yann Yann, from Malaysia.
The fact that winners of all these important categories coming from so many different Chinese-speaking territories is cause for profound reflection. After 50 years of debate about the event’s role and value, the whole process from the preparation to the awards presentation shows that the Golden Horse is a broad church and aspires to assume an exemplary position in the Chinese-speaking community.
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Taiwan’s academics, officials and members of the cultural and creative industries should observe this trend. The first person to raise the concept of soft power was Harvard University professor Joseph S. Nye Jr., who said that culture’s ability to persuade and move people was at the heart of the idea. Against a unique historical background, Taiwan’s popular culture has long had a powerful influence on the Chinese-speaking world. Popular music is a classic case. Jay Chou’s “Blue and White Porcelain” has been the subject of questions in mainland China’s college entrance exam several times, demonstrating the song’s popularity and cultural depth.
It seems Chinese-speaking musicians must pass a baptism by fire in the Taiwan market to prove their professionalism and marketability before entering the greater Chinese-language market. Examples are almost limitless: Khalil Fong became famous in Taiwan before returning to his native Hong Kong; and Singaporean Stefanie Sun established pop diva status in Taiwan before getting a Singapore Youth Award from ex-president Lee Kwan-yew. Taiwan’s cultural soft power is not just evident in popular culture. After mainland China’s Northern Kunqu Opera Theatre director Yang fengyi led a tour of Taiwan, she was moved by the crowd’s enthusiasm to say, “Kunqu’s best fans are in Taiwan.”
Many people are worried about the pervasive presence of Japanese, South Korean and mainland Chinese soap operas on Taiwan TV and have called for restrictions. But local audiences have sophisticated appetites and the artistic level and performance quality of Taiwan popular culture holds penetrative power within the Chinese-language world. Taiwan should neither underestimate nor confine itself. Rather, it should become more open and accommodating to achieve greatness through absorbing wide-ranging influences.
Mandarin is one of the world’s most important languages. In terms of the environment for the development of popular culture in Chinese-speaking areas, Taiwan’s advantages include exceptional Mandarin skills and a free and open atmosphere. Golden Horse winners have included such awards as a best actor gong for Zhang Hanyu in “Assembly” in 2008 and best feature for “Beijing Blues” in 2012, the later a mainland Chinese film with a cast of nonprofessional actors. Through the awards, Taiwan has shown its cultural breadth that transcends politics. This is proof of self-confidence.
So there is no reason for Taiwan to be upset that Julia Peng gained anew popularity after appearing in “I am a Singer” on mainland China’s Hunan TV, or Nicky Wu would forsake the local market after mainland China drama “Scarlet Heart” starring Wu became a TV box office hit. Culture is a long-term lifetime experiences. Popular culture is a commodity, so the market that supports it needs to be big enough. Taiwan and mainland China can share the benefits by establishing a close partnership and creating a flourishing Chinese-language popular culture.
(This commentary first appeared in the China Times Nov. 25, 2013.)