Before Gao Xingjian
Once Gao and Lee were honored in the West, however, and their works became commercial successes in Taiwan as a result, their artistic accomplishments were confirmed by the media as having "an international quality" befitting great masters. Local critics appeared to be struck dumb by the unassailable halo of prestigious prizes. Then, suddenly, criticism and contempt turned to enthusiastic praise and approval overnight. There were even people from the movie world who said, nauseatingly, in front of Lee,that "I feel as tiny as a young movie fan."
The fault-finding, ridicule, disdain, and haughty posturing seen earlier were no longer apparent. Critics switched from disparagement to approval, from negativity to being positive.
Why have they become unable to utter a sound other than to marvel and praise when confronted with the Nobel Prize or an Oscar? A careless slip of the tongue by a government official who asked "How could such a lousy movie win a prize?" was silenced under the powerful pressure of attacks from all sides in the media.
The enthusiastic acclaim coming from the West for the works of Gao and Lee seems to cause us, situated as we are in the Third World, to sense our own insignificance. Since the literary theory we read comes from the West and the film aesthetics we are familiar with come from the West, Western endorsement of our versions of these arts makes us aware of the weakness of our own theories as well as exacerbating our feelings of rootlessness.
Western approval of Gao and Lee makes us seem even more baseless, no matter how we try to deny their accomplishments. When confronted with an endorsement from the West, therefore, our critics can only dance along or keep silent.
We always believed that the West would need to rely on the guidance and appraisals of critics from the East to get to know Eastern works of art. When Western critics unexpectedly took the lead in expressing their opinions by awarding prizes to Eastern artists, it caused the judgements and understanding of local critics to suddenly appear superfluous. Thus these critics could only echo the judgements of their Western counterparts, imitating slavishly and losing their own point of view as well as their dignity.
However, even if the artistic value of Gao and Lee's work has already been affirmed by numerous prizes, critics can still raise different interpretations. They shouldn't submit to the perspective of Western scholars or values of commercial success.
But our critics and specialists, however, have not only given up on their ability to be sincere in their contemplation and observation, they have abandoned their responsibility and role as analysts and critics. They have joined the ranks marvelling at how the masters have created artistic and cultural miracles.
Like a devoted congregation, they worship the masters' accomplishments. This kind of unwavering adoration of Gao or Lee -- and the resulting lack of serious criticism -- can be blamed on intellectuals who have lost their dignity and self-confidence.
Chen Chao-ju is a cultural commentator.
Translated by Ethan Harkness
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