Film Lektüre: Hou Hsiao-Hsien edited by Richard I. Suchenski

Das von Richard I. Suchenski herausgegebene Buch über das Werk von Hou Hsiao-Hsien sollte als Musterexemplar für sämtliche Publikationen über Filmemacher dienen. Derart vielschichtig und doch detailverliebt haben sich bislang ganz wenige Bücher einem einzelnen Filmemacher genähert, wenn dieser nicht selbst als Autor aufgetreten ist. Neben dem Buch No Man an Island: The Cinema of Hou Hsiao-hsien von James Udden ist das in der Reihe der Synema-Publikationen des Österreichischen Filmmuseums erschienene Buch das einzige umfassende, englischsprachige Zeugnis eines der wohl wichtigsten asiatischen Filmemacher aller Zeiten. Es ist deshalb ein derart gutes Buch, weil es sich aus drei Komponenten zusammensetzt, die in sich schon alle einen außergewöhnlichen Einblick in das Schaffen des großen Meisters geben, dessen The Assassin hoffentlich 2015 das Licht der Welt erblicken wird.

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Da wäre zum einen die Versammlung individueller Essays von großen Autoren und Hou-Kennern. Fast jeder Text ist für sich eine kleine Entdeckungsreise. Das beginnt schon bei einem sehr detaillierten und faszinierenden Einleitungstext in Form einer formalistischen Analyse der Filme von Hou durch Richard Suchenski selbst. Statt einer gefälligen Einleitung finden sich hier schon eine Tiefe und eine Auseinandersetzung mit den Filmen, die auch für sich alleine stehen könnte. Auch Jean-Michel Frodons Text Unexpected but Fertile Convergence ist ein kleiner Schatz. Frodon liefert einen Gesamtüberblick über die bisherige Karriere von Hou aus unterschiedlichen Perspektiven. Er schreibt: „Hou’s cinema, more deeply and with a stronger power of seduction than that of any other Chinese filmmaker, responds to another conception of the world, in the largest sense possible.” Die Tatsache, dass Hou hier als Chinese bezeichnet wird, wird nicht nur in diesem Text auch thematisiert, befragt und relativiert. Peggy Chiao, Ni Zhen und Jean Ma kümmern sich in ihren Texten sehr viel um die Frage nach der Identität und der Geschichte Taiwans. Eindeutiges Highlight unter den einzelnen Essays ist jedoch der Text von Hasumi Shigehiko über Flowers of Shanghai. Der Autor nähert sich dem Film über dessen Lampen: Who Can Put Out the Flame?, heißt der Text, der eine Tragödie von Öllampen und Flammen erzählt und dabei sowohl die offensichtliche Handlung als auch die nur scheinbar unsichtbaren Spuren im Kino von Hou offenbart. Denn wenn wir bei unserer intensiven Auseinandersetzung mit den Filmen des Regisseurs im vergangenen Sommer eines bemerkt haben, dann dass wir unser eigenes Sehen neu justieren müssen, um der flüchtigen Notwendigkeit von Hou zu folgen. Statt Drama zu betonen, schleicht es sich an und genau in diesem Rhythmus fungieren auch die Betrachtungen von Shigehiko. „These flames – which, thanks to the exceptional handling of light, lead into and out of each scene as concrete cinematic subjects that slowly drift into and out of view – separate Flowers of Shanghai not only from Hou’s other work, but also from the celebrated film historical examples of works that have taken Shanghai as a cinematic subject.” Der Autor stellt Vergleiche zu Filmen wie Shanghai Express, The Shanghai Gesture oder auch Rio Grande an. Er skizziert Inhalt und Form des Films im Verhältnis zu den Produktionsbedingungen und dem Gesamtwerk von Hou.

Und spätestens hier kommt dann auch die zweite Komponente ins Spiel, die das Buch derart lesenswert macht. Denn weiter hinten wird mit dem großartigen Kameramann Mark Lee über das Licht im Film gesprochen. Lee beschreibt, wie der Look zu Stande kam. Das Spannende daran ist, dass er dies natürlich aus Sicht eines Kameramanns macht. Er beschreibt, wie Hou immer noch mehr Lichter entfernt hat, wie er ihn mit kleinen weißen Lügen hinterging und wie das Licht schießlich mit kleinen Verstärkungen für die zärtlichen Öllampen als „glamorous realism“ durchging. Immer wieder sprechen die Texte und Interviews im Buch miteinander. Dabei gibt es außer dem Licht und der Frage nach Identität ein Hauptthema, das sich von einem Text in den anderen bewegt und wohl mehr als alles andere die Bedeutung von Hou für das asiatische Kino unterstreicht: Die Totale und ihre Dauer.

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Damit ist natürlich die penetrante Verwendung totaler Einstellungen im Kino von Hou gemeint. Diese und seine Verweigerung in nähere Einstellungen zu schneiden, wird in vielen unterschiedlichen Texten aus differenzierten Perspektiven betrachtet. Die Frage nach der Totalen und ihrer Verweildauer ist von einer hohen Brisanz und zeigt nicht zuletzt wie aktuell Hou als Filmemacher zwischen all diesen slow und contemplative Filemmachern des 21. Jahrhunderts noch immer ist. Mehr als einmal habe ich mir beim Lesen die Frage gestellt, warum immer wieder von einem Einfluss auf asiatische Filmemacher gesprochen wird, wenn doch auf der ganzen Welt derartige Methoden sichtbar sind. Da gibt es einmal Kent Jones, der sich dem Phänomen mit einem Blick auf die Zeit nähert. Eigentlich ist es kein Blick auf die Zeit in den Filmen von Hou sondern ein Blick auf die Zeiten der Räume bei Hou. Jones argumentiert, dass Hou nicht im Stil eines Olivier Assayas (der neben Jia Zhang-ke und Koreeda Hirokazu einer der von Hou beeinflussten Regisseure ist, die selbst zu Wort kommen im Buch) ein proustianischer Filmemacher sei, sondern in der Kollision aus der fließenden Gegenwart und der erinnerten Vergangenheit mit seinen Filmen arbeiten würde. Das bekannte Bild des nachdenklichen Tony Leung inmitten des Treibens des Bordells in Flowers of Shanghai sei dafür ein Beispiel. Sein Sentiment ist in der Vergangenheit, aber seine Umwelt verweist auf die Gegenwärtigkeit.

Die lange Einstellung wird in all ihren Facetten diskutiert. So wird ein wenig mit dem Vergleich von Hou und Ozu aufgeräumt, beschrieben wie Hou seinen Stil entwickelt hat. Ein wenig zu viel Fokus wird meiner Meinung nach immer wieder auf A Time to Live, A Time to Die gelegt, denn dort gibt es sicherlich noch sehr viele Ransprünge und Nahaufnahmen trotz der immensen Länge totaler Einstellungen. Vielmehr Sinn macht es da schon mit James Udden mitzugehen, der sich für Dust in the Wind als definitiven Hou Film einsetzt. Er beschreibt wie Hou in narrativen Schritten denkt, wo man es vielleicht (auch aufgrund seiner Einstellungsgröße) gar nicht erwartet, aber immer sieht, selbst wenn man es kaum bewusst wahrnimmt. Die Frage nach der Inszenierung von Kleinigkeiten, die dem Zuseher subtil und mit Hilfe einer ganz bewussten Choreografie natürlichster Bewegungen vorgeführt wird, wird mit dem Buch noch einmal deutlicher. Man will sich sofort wieder in die Filme stürzen, da man feststellen muss, dass Hou eine völlig eigene Sprache spricht, die man erst mit einem geschulten Augen wirklich begreifen kann. Manches davon erkennt man instinktiv beim Sehen, aber ein Hinweis hier und dort kann einem die Augen für die Bilder und Töne von Hou öffnen. Und Texte wie jener von Udden, der ein Schüler von David Bordwell war und gewissermaßen noch ist, sind eine Schule für die Augen. Mit diesem Fokus auf Bewegungen im Bild wird auch eine wichtige Distinktion getroffen. Und zwar eine, die wir hier bei Jugend ohne Film ebenfalls diskutiert haben. Es ist jene zwischen Hou Hsiao-Hsien und Tsai Ming-Liang beziehungsweise anderen Modernisten, zu denen man auch Chantal Akerman oder Béla Tarr zählen könnte. Die Frage nach Langsamkeit ist bei Hou immer eine, die in der Spannung zwischen Statik der Kamera und Bewegung vor der Kamera entsteht. Dabei bleibt er ein klassischer Geschichtenerzähler, der weder in das Obskure driftet wie Tsai noch in eine Bewegungstrance wie Tarr. Hou hat eine ganz eigene Form dieser langen Totalen entwickelt, die zum einen unverkennbar ist und zum anderen einen Fokus auf eine tatsächliche Inszenierung von Bewegung legt wie es sie wohl selten sonst im Kino gibt. Schaut man sich derzeit den Gewinner des Goldenen Löwen En duva satt på en gren och funderade på tillvaron von Roy Andersson in den Kinos an, kann man sehen wie lange Totalen völlig anders funktionieren. Bei Hou sind sie eine eigene Kraft statt ein auf sich selbst verweisendes Instrument. Sie sind eine Haltung zur Welt, die möglichst unberührt bleiben soll während sie bei Andersson gerade durch seine Langsamkeit und Distanz berührt wird.

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Alles – und das führt uns zur dritten Komponente – ist einem Streben nach Realismus untergeordnet und einer experimentellen Neugier, die sich immer wieder neu erfinden will. Denn im letzten Abschnitt des Buchs finden sich wie bereits beschrieben eine Menge Interviews mit Kollaborateuren von Hou, die Richard Suchenski selbst geführt hat und die für sich schon einen ziemlich umfassenden Einblick in Methoden und Prozesse von Hou geben. Vor allem die beiden Gespräche mit seinen Kameramännern Mark Lee und Chen Huai-En bieten einen inspirierenden und ungewöhnlichen Einblick in die Arbeitsweise eines sturen Mannes, zu dessen Prinzipien gehört, dass jeder Film eine Antwort auf den vorherigen sein soll. Vor allem die Berichte von den Dreharbeiten zu Goodbye South, Goodbye und Flowers of Shanghai sind fantastisch. Es wird sehr deutlich, dass Jean-Luc Godard Recht hatte, als er sagte, dass der Autor immer mehrere Menschen sind. Im Interview mit Tu Duu-chih wird auch klar, welche Bedeutung technische Entwicklungen für die Entwicklung des Kinos von Hou und in Taiwan allgemein hatten. Die gesellschaftlichen und politischen Hintergründe werden in diesem Buch in jeder Zeile mit einer Ästhetik und Weltsicht in Verbindung gebracht und daher wird die Lektüre dem Schaffen von Hou auch tatsächlich gerecht. Zuletzt findet sich noch Produktionsmaterial zu Three Times im Buch sowie eine umfassende Bibliographie und biographische Daten. Ich habe einen ganzen Monat mit dem Buch verbracht und werde es sicher immer wieder zur Hand nehmen, obwohl oder gerade weil es kein einfaches Nachschlagewerk ist. Eher ist diese Publikation ein Werk über das Filmemachen an sich, da sie sämtliche Aspekte des Berufs inkludiert und anhand eines großen Regisseurs durchexerziert.

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Kommentare

  1. Michael Lederer

    Wie man eine Betrachtung des Schaffens von Hou Hsiao-hsien abliefern kann, ohne auch nur mit einem Satz seinen für Taiwan wichtigsten Film „A City of Sadness“ (1989, Originaltitel „Bei qing cheng shi“, „Eine Stadt der Traurigkeit“) zu erwähnen, ist mir unverständlich. Zwar ist der Film in Europa derzeit nicht in Übersetzung oder mit englischen oder deutschen Untertiteln erhältlich, dennoch kann das Gesamtwerk von Hou ohne diesen für das nationale Selbstverständnis der Taiwaner maßgeblichen Film überhaupt nicht begriffen werden. Fragen Sie in Taiwan mal jemanden nach HHH. Neun von zehn Personen werden spontan die Familiengeschichte der Brüder aus „A City of Sadness“ erzählen können.

  2. Das ist uns durchaus bewusst. Allerdings ist dies keine Betrachtung des Schaffens von HHH sondern die Lektüre seines Buches. Wir haben uns im vergangenen Sommer intensiv mit seinem Werk beschäftigt und sind dabei auch immer wieder auf A City of Sadness eingegangen, der ja nicht nur in Taiwan wichtig ist. Denn immerhin hat Hou damit den Goldenen Löwen in Venedig gewonnen. Desweiteren behalten wir uns trotzdem vor unseren ganz eigenen Zugang zu diesem wundervollen Filmemacher zu finden und nicht nach dem Massengeschmack eines Landes zu gehen, aus dem wir schlicht nicht kommen. Der vorliegende Text ist eine Buchbesprechung. Im Buch wird natürlich A City of Sadness thematisiert, aber nicht in einer Weise, die ich in diesem Fall für erwähnenswert hielt.

    Hier finden Sie viele meiner Besprechungen seiner Filme, darunter auch A City of Sadness: http://www.jugendohnefilm.com/kategorie/regisseure/hou-hsiao-hsien-retro/

    Ein viel größeres Problem haben Sie ja auch angesprochen. Die Marginalität seines Werks in europäischen oder amerikanischen DVD Auswertungen. Das ist etwas, was sich hoffentlich durch die tolle Arbeit von Herrn Suchenski u.a. ändern wird.

    Vielen Dank für ihre Ergänzungen,

    Viele Grüße,
    Patrick Holzapfel

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  80. The Zune concentrates upon getting a Portable Media Player. Not a internet browser. Not a sport machine. Perhaps in just the upcoming it will do even superior within just individuals areas, nonetheless for at this time it’s a superior direction in the direction of organize and hear in direction of your audio and movies, and is without peer within just that regard. The iPod’s positive aspects are its net checking out and programs. If people sound even further persuasive, maybe it is your least complicated alternative.

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  97. Zune and iPod: Optimum people examine the Zune to the Contact, nevertheless right after looking at how skinny and shockingly small and light it is, I get it towards be a pretty distinctive hybrid that combines qualities of each the Touch and the Nano. It really is very colorful and attractive OLED exhibit is a little smaller than the touch screen, however the participant by itself feels Extremely a bit smaller sized and lighter. It weighs about 2/3 as much, and is appreciably lesser inside width and top, even though remaining specifically a hair thicker.

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  101. The Zune concentrates on being a Transportable Media Player. Not a website browser. Not a recreation machine. Potentially inside of the foreseeable future it’s going to do even better inside these areas, but for already it truly is a Terrific course towards arrange and pay attention towards your tunes and films, and is without the need of peer within that regard. The iPod’s strengths are its world-wide-web viewing and purposes. If those sound further powerful, probably it is your best selection.

  102. The new Zune browser is shockingly beneficial, however not as favourable as the iPod’s. It works properly, still isn’t as fast as Safari, and incorporates a clunkier interface. If yourself occasionally system on utilizing the web browser which is not an issue, still if you might be building to examine the web alot in opposition to your PMP then the iPod’s bigger display screen and far better browser might be considerable.

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  104. I’ll equipment this critique in direction of Two patterns of Those people: existing Zune homeowners who are taking into consideration an upgrade, and folks striving in direction of determine concerning a Zune and an iPod. (There are other avid gamers significance thinking of out there, including the Sony Walkman X, nonetheless I be expecting this features by yourself sufficient details in direction of make an conscious decision of the Zune vs avid gamers other than the iPod line as properly.)

  105. The refreshing Zune browser is amazingly favourable, however not as Great as the iPod’s. It operates very well, still isn’t really as quick as Safari, and includes a clunkier interface. If your self often method on getting the web browser that is not an issue, however if you might be developing in direction of read through the world-wide-web alot in opposition to your PMP then the iPod’s bigger exhibit and greater browser may possibly be sizeable.

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  108. If you are nonetheless upon the fence: get your preferred earphones, head down in direction of a Least difficult Obtain and talk to toward plug them into a Zune then an iPod and view which 1 sounds greater toward oneself, and which interface can make oneself smile further. Then you’ll know which is directly for you.

  109. The Zune concentrates on getting a Moveable Media Player. Not a world-wide-web browser. Not a match machine. Potentially inside of the long term it’s going to do even greater within people areas, but for currently it truly is a superior path in direction of prepare and hear to your music and films, and is with no peer in that respect. The iPod’s advantages are its website checking out and apps. If those people strong much more powerful, potentially it is your great alternative.

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  111. Apple currently consists of Rhapsody as an app, which is a Wonderful start out, still it is at the moment hampered by means of the incapability towards retail outlet domestically upon your iPod, and has a dismal 64kbps bit rate. If this changes, then it will rather negate this advantage for the Zune, still the 10 songs per thirty day period will continue to be a big furthermore within Zune Pass‘ choose.

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  113. Between me and my spouse we have owned additional MP3 avid gamers in excess of the yrs than I can depend, which includes Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so forth. But, the remaining couple of yrs I’ve fixed down in direction of a single line of avid gamers. Why? Considering that I was pleased to examine how well-designed and pleasurable in direction of employ the service of the underappreciated (and extensively mocked) Zunes are.

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  115. Apple currently is made up of Rhapsody as an app, which is a outstanding commence, yet it is presently hampered via the lack of ability toward retail outlet locally upon your iPod, and incorporates a dismal 64kbps bit cost. If this improvements, then it will relatively negate this advantage for the Zune, however the 10 audio for each thirty day period will nevertheless be a large as well as inside Zune Pass‘ want.

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