{"id":11141,"date":"2025-03-14T13:08:49","date_gmt":"2025-03-14T13:08:49","guid":{"rendered":"https:\/\/taipeirevista.com\/?p=11141"},"modified":"2025-03-21T14:18:29","modified_gmt":"2025-03-21T14:18:29","slug":"mudarse-a-taipei","status":"publish","type":"post","link":"https:\/\/taipeirevista.com\/index.php\/2025\/03\/14\/mudarse-a-taipei\/","title":{"rendered":"Mudarse a Taipei"},"content":{"rendered":"\n

Luego de ocho n\u00fameros publicados en substack, este newsletter titulado <\/em>Polvo rojo se muda, igual que los protagonistas de la pel\u00edcula analizada, a Taipei.<\/em><\/p>\n\n\n\n

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En Historias de Tokio<\/em>, Yasujiro Ozu retrataba las tensiones generacionales entre adultos mayores y j\u00f3venes en el Jap\u00f3n de la posguerra. En Una historia de Taipei<\/em>, que puede leerse como un homenaje al maestro japon\u00e9s, Edward Yang transporta la acci\u00f3n al presente de la ciudad taiwanesa, llegando a la tragedia social a trav\u00e9s de un cambio de paradigma personal: Lung vuelve de un viaje a Estados Unidos y se muda a un departamento en Taipei junto a su novia Chin. <\/p>\n\n\n\n

Taipei, ciudad moderna, sufre las mismas transformaciones que los protagonistas: una tensi\u00f3n constante entre un pasado tradicional y violento y un futuro liberal y democratizador. Luego de una ley marcial que dur\u00f3 38 a\u00f1os (y a\u00fan estaba vigente, aunque suavizada, durante la filmaci\u00f3n de la pel\u00edcula) bajo el r\u00e9gimen del Kuomintang o Terror Blanco, y d\u00e9cadas de ocupaci\u00f3n japonesa anterior a ese per\u00edodo, Taiw\u00e1n se enfrentaba (como la China continental) a una apertura hacia occidente, una industrializaci\u00f3n r\u00e1pida y una liberalizaci\u00f3n y crecimiento econ\u00f3mico hiperveloces que convirtieron a la isla en uno de los pa\u00edses m\u00e1s desarrollados de Asia. En ese contexto, Lung representa el pasado rural, tradicional y sanguinario de Taiw\u00e1n, al centrarse en su mundo \u00edntimo de las ligas menores de b\u00e9isbol, el sentimiento de deber en relaci\u00f3n a ayudar econ\u00f3micamente la pyme de su suegro, asediada por la gran industria, y su confusi\u00f3n con respecto a c\u00f3mo tratar a las personas en esta nueva ciudad. Ya no estamos ante el mismo Taipei de pandillas violentas que hab\u00eda retratado el propio Yang en A Brighter Summer Day<\/em>, ni de represi\u00f3n y razzias policiales que supo filmar Hou Hsiao-hsien en Ciudad doliente<\/em>. Chin, por su parte, parece acostumbrarse m\u00e1s r\u00e1pido a la nueva ciudad, trabajando en el mundo empresarial y junt\u00e1ndose con amigos j\u00f3venes y confiados en bares donde suena m\u00fasica de Michael Jackson, aun cuando un pesar la acompa\u00f1a: como en la \u00faltima pel\u00edcula de Yang, Yi Yi<\/em>, la ciudad abruma y oprime, la arquitectura y el espacio encapsulan a nuestros personajes en cuadros dentro del cuadro, alien\u00e1ndolos y aletarg\u00e1ndolos, casi como un documental sobre los cambios estructurales en los edificios de Taipei, cada vez m\u00e1s indistinguibles entre s\u00ed.<\/p>\n\n\n

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No es casual que Yang haya elegido a su amigo y compa\u00f1ero de generaci\u00f3n, Hou Hsiao-hsien, para protagonizar la pel\u00edcula. La Nueva Ola Taiwanesa fue un movimiento de cineastas, en el que ellos dos fueron las figuras m\u00e1s preponderantes, que se encargaron no solo de documentar el presente de Taiw\u00e1n, sino de reescribir su pasado, restituir la voz de los oprimidos por el r\u00e9gimen del Terror Blanco ante una Historia que se relataba censurada y cercenada. Las comparaciones con Ozu tampoco son casuales: m\u00e1s all\u00e1 de los sendos homenajes con la propia Una historia de Taipei<\/em> y la posterior Caf\u00e9 Lumi\u00e8re<\/em> de Hou, filmada en Jap\u00f3n, esta generaci\u00f3n supo tomar del director japon\u00e9s no solo las historias transgeneracionales y los cambios sociales que viv\u00eda un pa\u00eds \u2014una regi\u00f3n\u2014 abierto a un nuevo mundo occidental que se mezclaba con valores ancestrales y milenarios (desde un lado m\u00e1s cosmopolita Yang, desde uno m\u00e1s popular Hou), sino que entendieron la cualidad particularmente enf\u00e1tica del plano fijo como potenciador del efecto cat\u00e1rtico del melodrama.<\/p>\n\n\n\n

Cerca del final de Una historia de Taipei<\/em>, los pillow-shots<\/em> de Ozu resuenan en habitaciones vac\u00edas ba\u00f1adas por el sol, luego de que la turbulencia social haya desembocado, como siempre en Yang, en un crimen violento: Lung yace apu\u00f1alado en la calle mientras Chin se sumerge a\u00fan m\u00e1s de lleno en el mundo empresarial, en un plano final donde ella mira a la ciudad y esta le devuelve un reflejo opaco. Asomada al abismo de un capitalismo voraz, presagia lo que vendr\u00e1.<\/p>\n\n\n\n

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Santiago Damiani<\/strong> naci\u00f3 en Buenos Aires en el a\u00f1o 2000. Estudia la Licenciatura en Sociolog\u00eda en la Universidad de Buenos Aires. Colabor\u00f3 con cr\u00edticas para medios como Taipei o Izquierda Web, y para el cat\u00e1logo del 18\u00b0 Festival Internacional de Cine Independiente de La Plata FestiFreak.<\/p>\n\n\n\n

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Si quer\u00e9s recibir la columna Polvo rojo<\/strong> en tu casilla de correo,
junto a las dem\u00e1s columnas de Taipei<\/em> y el resumen de fin de mes, complet\u00e1 este formulario<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

En “Historias de Tokio”, Yasujiro Ozu retrataba las tensiones generacionales entre adultos mayores y j\u00f3venes en el Jap\u00f3n de la posguerra. En “Una historia de Taipei”, que puede leerse como un homenaje al maestro japon\u00e9s, Edward Yang transporta la acci\u00f3n al presente de la ciudad taiwanesa, llegando a la tragedia social a trav\u00e9s de un cambio de paradigma personal(…)<\/p>\n","protected":false},"author":32,"featured_media":11145,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1625],"tags":[121,280,1117,485,484],"class_list":{"0":"post-11141","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-polvo-rojo","8":"tag-1980s","9":"tag-cine-chino","10":"tag-edward-yang","11":"tag-hou-hsiao-hsien","12":"tag-yasujiro-ozu"},"yoast_head":"\nMudarse a Taipei - TAIPEI<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/taipeirevista.com\/index.php\/2025\/03\/14\/mudarse-a-taipei\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mudarse a Taipei - TAIPEI\" \/>\n<meta property=\"og:description\" content=\"En "Historias de Tokio", Yasujiro Ozu retrataba las tensiones generacionales entre adultos mayores y j\u00f3venes en el Jap\u00f3n de la posguerra. 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