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content="2023-05-29T12:47:15+10:00"> <meta itemscope itemprop="mainEntityOfPage" itemtype="https://schema.org/WebPage" itemid="http://www.sensesofcinema.com/2023/cteq/what-time-is-it-there-tsai-ming-liang-2001/"> <span class="cb-hide" itemscope itemprop="publisher" itemtype="https://schema.org/Organization"> <meta itemprop="name" content="Senses of Cinema"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> <span class="cb-hide" itemscope itemprop="logo" itemtype="https://schema.org/ImageObject"> <meta itemprop="url" content="https://www.sensesofcinema.com/wp-content/uploads/2014/05/senses-header-logo.png"> </span> </span> <span class="cb-hide" itemprop="author" itemscope itemtype="https://schema.org/Person"><meta itemprop="name" content="Jessica Balanzategui"></span> <meta itemprop="headline" content="What Time is it There? (Tsai Ming-liang, 2001)"> <span class="cb-hide" itemscope itemtype="http://schema.org/ImageObject" itemprop="image" > <meta itemprop="url" content="http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-cteq-anno-lead.png"> <meta itemprop="width" content="1000"> <meta itemprop="height" content="533"> </span> <div id="main" class="cb-main clearfix issue-single-meta-container"> <article id="post-46279" class="clearfix post-46279 post type-post status-publish format-standard has-post-thumbnail category-cteq"> <header id="cb-standard-featured"><div class="cb-mask"><img width="750" height="400" src="http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-cteq-anno-lead-750x400.png" class="cb-fi-standard wp-post-image" alt="" loading="lazy" srcset="http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-cteq-anno-lead-750x400.png 750w, http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-cteq-anno-lead-300x160.png 300w, http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-cteq-anno-lead-768x409.png 768w, http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-cteq-anno-lead.png 1000w" sizes="(max-width: 750px) 100vw, 750px" /><div class="cb-image-credit"><i class="fa fa-camera"></i><i>What Time is it There?</i></div></div><div id="cb-fis-wrap" class="cb-entry-header hentry cb-fis cb-style-standard"><span class="cb-title-fi"><h1 class="entry-title cb-entry-title cb-single-title" itemprop="headline"><i>What Time is it There?</i> (Tsai Ming-liang, 2001)</h1><div class="cb-byline cb-font-header"><div class="cb-author cb-byline-element vcard author"><i class="fa fa-user"></i> <a href="http://www.sensesofcinema.com/author/jessica-balanzategui/" title="Posts by Jessica Balanzategui" class="author url fn" rel="author">Jessica Balanzategui</a></div> <div class="cb-date cb-byline-element"><i class="fa fa-clock-o"></i> <time class="updated" datetime="2023-05-15">May 2023</time></div> <div class="cb-category cb-byline-element"><i class="fa fa-folder-o"></i> <a href="http://www.sensesofcinema.com/category/cteq/" title="View all posts in CTEQ Annotations on Film">CTEQ Annotations on Film</a></div></div></div></header> <div class="cb-category cb-byline-element issue-single-meta"><i class="fa fa-folder-o"></i><a href="/issues/issue-105">Issue 105</a></div> <section class="cb-entry-content entry-content clearfix" itemprop="articleBody"> <p><span style="font-weight: 400;">The turn of the 21st century in Taiwan was marked, as in most countries, by intense fears of the “millennium bug”. This “Y2K” bug would supposedly leave computerised systems incapable of coherently managing dates beyond December 31, 1999, resulting in societal chaos and collapse. As </span><i><span style="font-weight: 400;">Taiwan Today</span></i><span style="font-weight: 400;"> reported on January 1, 1999 – a year before the “Y2K” bug was expected to wreak havoc – “as the clock ticks ever nearer to the year 2000, the ROC [Republic of China] government is working feverishly to solve the millennium bug problem and head off its potentially disastrous effects on Taiwan’s society.”<sup class='footnote'><a href='#fn-46279-1' id='fnref-46279-1' onclick='return fdfootnote_show(46279)'>1</a></sup> As in other countries, Taiwan’s fears about the “Y2K” bug took on apocalyptic overtones. The </span><i><span style="font-weight: 400;">Taiwan Today</span></i><span style="font-weight: 400;"> article quotes Premier Siew who describes the millennium bug as the “contemporary version of the biblical century-end disasters”<sup class='footnote'><a href='#fn-46279-2' id='fnref-46279-2' onclick='return fdfootnote_show(46279)'>2</a></sup>.</span></p> <p><span style="font-weight: 400;">Unlike other countries, in Taiwan these temporal anxieties about the millennial turn intersected with localised worries about time being out of joint, to use film philosopher Gilles Deleuze’s famous appropriation of a line from Shakespeare’s </span><i><span style="font-weight: 400;">Hamlet</span></i><span style="font-weight: 400;"><sup class='footnote'><a href='#fn-46279-3' id='fnref-46279-3' onclick='return fdfootnote_show(46279)'>3</a></sup>. Taiwan’s modern history is distinctively marked by a plurality of competing forces seeking to impose different meanings and agendas on Taiwanese cultural identity. The country’s lingering politically ambiguous status carries the legacy of this layering of historical forces and colliding metrics of national progress. The country was under Japanese rule until 1945, and after World War II was placed under the governance of the ROC, until the 1949 Chinese Civil War ignited deep-rooted tensions between the ROC and the newly established People’s Republic of China. Taiwan underwent a process of democratisation throughout the 1990s, culminating in significant shifts around the turn of the millennium with the first free and direct presidential election in the country’s history taking place in 1996, and the rise to power in 2000 of the Democratic Progressive Party. Political science researcher Thomas J. Bellows declared of the election, “democracy has taken root in Taiwan”, celebrating the momentous creation of “a homegrown democracy”, rather than one “imposed by an occupying power”<sup class='footnote'><a href='#fn-46279-4' id='fnref-46279-4' onclick='return fdfootnote_show(46279)'>4</a></sup>.</span></p> <p><span style="font-weight: 400;">Yet this political progress towards independence and autonomy was accompanied by economic turmoil. Despite weathering the Southeast Asian financial crisis of the late 1990s with continued economic growth, by 2001, the year that Malaysian-Taiwanese director Tsai Ming-Liang’s </span><i><span style="font-weight: 400;">What Time is it There?</span></i><span style="font-weight: 400;"> was released, the country was hit with a recession<sup class='footnote'><a href='#fn-46279-5' id='fnref-46279-5' onclick='return fdfootnote_show(46279)'>5</a></sup>. As </span><i><span style="font-weight: 400;">CNN</span></i><span style="font-weight: 400;"> reported at the time, the recession marked “the steepest drop off in 26 years in Taiwan”, noting that the “rapid decline in the economy has forced lawmakers to seek closer ties with mainland China”<sup class='footnote'><a href='#fn-46279-6' id='fnref-46279-6' onclick='return fdfootnote_show(46279)'>6</a></sup>. The new millennium in Taiwan was thus characterised by a deeply felt temporal disjointedness, as political progress carried with it undercurrents of decline and a bubbling to the surface of legacies of political oppression and economic dependence.</span></p> <p><i><span style="font-weight: 400;">What Time is it There?</span></i><span style="font-weight: 400;"> captures this “cultural” time out of joint in Taiwan at the turn of the millennium. The protagonist is a street vendor in Taipei who sells wristwatches out of a briefcase. The film follows two parallel storylines, one focused on the watch seller, Hsiao-Kang (Lee Kang-Sheng), and one on a young woman, Shiang-Chyi (Chen Shiang-Chyi), who buys a wristwatch from Hsiao-Kang before travelling to Paris. This parallel temporal strategy was common in films of the millennial turn, from </span><i><span style="font-weight: 400;">Magnolia</span></i><span style="font-weight: 400;"> (Paul Thomas Anderson, 1999) and </span><i><span style="font-weight: 400;">Traffic</span></i><span style="font-weight: 400;"> (Steven Soderbergh, 2000) to</span><i><span style="font-weight: 400;"> Lantana</span></i><span style="font-weight: 400;"> (Ray Lawrence, 2001).</span></p> <p><span style="font-weight: 400;">Tsai’s parallel narratives are delivered through sequences that challenge the audience with feats of temporal endurance in line with the types of films Deleuze references in defining his influential concept of the “time-image.” These films, Deleuze argues, depict a time that is off its hinges and out of joint, and include the work of Japanese auteur Yasujiro Ozu and French </span><i><span style="font-weight: 400;">nouvelle vague </span></i><span style="font-weight: 400;">director François Truffaut<sup class='footnote'><a href='#fn-46279-7' id='fnref-46279-7' onclick='return fdfootnote_show(46279)'>7</a></sup>. Deleuze pinpoints the long, languorous takes of these films as examples of images that compel the audience to </span><i><span style="font-weight: 400;">feel</span></i><span style="font-weight: 400;"> time passing.</span></p> <p><i><span style="font-weight: 400;">What Time is it There?</span></i><span style="font-weight: 400;"> shares this approach to filmmaking filled with images “infused with time”<sup class='footnote'><a href='#fn-46279-8' id='fnref-46279-8' onclick='return fdfootnote_show(46279)'>8</a></sup>. The film is composed of long takes which force us to experience and endure the passage of time, sometimes agonisingly, with the two protagonists as they wander aimlessly around the streets of Taipei and Paris or sit by the side of desolate pools. In such sequences of wandering and waiting, “a cinema of seeing replaces action”<sup class='footnote'><a href='#fn-46279-9' id='fnref-46279-9' onclick='return fdfootnote_show(46279)'>9</a></sup>. As Catrina Sun-Tan puts it, the film is so slow it “can feel like pure torture”<sup class='footnote'><a href='#fn-46279-10' id='fnref-46279-10' onclick='return fdfootnote_show(46279)'>10</a></sup>. Tsai defies clear narrative coordinates or momentum in ways that resonate with Taiwan’s plural and non-linear national identity during this period of confusing transformation marked by the millennial turn.</span></p> <p><span style="font-weight: 400;">Clocks and watches feature heavily throughout Tsai’s film as if to tease the audience with their irrelevance and impotence. As Lee Carruthers writes of the film, these timepieces “assume a fetishized status” through both the characters and camera’s obsession with them, however this “‘overregulation’ of time… does not actually capture or consolidate it”<sup class='footnote'><a href='#fn-46279-11' id='fnref-46279-11' onclick='return fdfootnote_show(46279)'>11</a></sup>. Throughout the film, time becomes “unhinged” from linear narrative progression that leads towards some type of meaningful climax: instead, we experience “the empty form of time, time without content”, to use Steven Swarbrick’s description of Deleuze’s “time-image”<sup class='footnote'><a href='#fn-46279-12' id='fnref-46279-12' onclick='return fdfootnote_show(46279)'>12</a></sup>.</span></p> <div id="attachment_46280" style="width: 1010px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-2.png"><img aria-describedby="caption-attachment-46280" loading="lazy" class="wp-image-46280 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-2.png" alt="" width="1000" height="533" srcset="http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-2.png 1000w, http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-2-300x160.png 300w, http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-2-768x409.png 768w, http://www.sensesofcinema.com/wp-content/uploads/2023/05/What-Time-Is-It-There-2-750x400.png 750w" sizes="(max-width: 1000px) 100vw, 1000px" /></a><p id="caption-attachment-46280" class="wp-caption-text">Hsiao-Kang watches Jean-Pierre Léaud’s performance in <i>Les quatre cents coups</i> (<i>The 400 Blows</i>, Truffaut, 1959).</p></div> <p><span style="font-weight: 400;">In Deleuze’s writing, the work of the </span><i><span style="font-weight: 400;">nouvelle vague</span></i><span style="font-weight: 400;"> directors like the above-mentioned Truffaut is credited with inventing or popularising key devices of the “time-image” in post-World War II cinema. Notably, Tsai – himself one of the most celebrated directors of Taiwan’s own Second “New Wave” of filmmakers – gestures directly to the influence of Truffaut in </span><i><span style="font-weight: 400;">What Time is it There?</span></i><span style="font-weight: 400;"> The narrative about troubled young woman Shiang-Chyi focuses on her travels to Paris in search of elusive meaning, where she has a chance encounter with iconic </span><i><span style="font-weight: 400;">nouvelle vague </span></i><span style="font-weight: 400;">actor, Jean-Pierre Léaud. In watch seller Hsiao-Kang’s parallel narrative, he sees this actor on his TV screen while watching a bootleg copy of Truffaut’s influential </span><i><span style="font-weight: 400;">Les quatre cents coups </span></i><span style="font-weight: 400;">(</span><i><span style="font-weight: 400;">The 400 Blows</span></i><span style="font-weight: 400;">, 1959). This film features the most famous of Léaud’s performances.</span></p> <p><span style="font-weight: 400;">Again, we feel the uncanny weight of time passing in the echo of Léaud encounters across two very different lives: on Hsiao-Kang’s TV screen in his dingy Taipei apartment, the actor appears as a 14-year-old child in the type of performance that Deleuze identifies as pivotal to the “time-image”, in which child characters, not yet equipped for or permitted full participation in adult society, are forced to wait and watch rather than act on the situations they encounter<sup class='footnote'><a href='#fn-46279-13' id='fnref-46279-13' onclick='return fdfootnote_show(46279)'>13</a></sup>. Yet, in Shiang-Chyi’s encounter with the actor, Léaud appears as a mysterious older man sitting on a bench by a cemetery in Paris, in stark contrast to the child depicted in evocative black-and-white close-ups on Hsiao-Kang’s TV screen.</span></p> <div id="attachment_46281" style="width: 1047px" class="wp-caption alignnone"><a href="http://www.sensesofcinema.com/wp-content/uploads/2023/05/what-time-is-it-there-3.jpg"><img aria-describedby="caption-attachment-46281" loading="lazy" class="wp-image-46281 size-full" src="http://www.sensesofcinema.com/wp-content/uploads/2023/05/what-time-is-it-there-3.jpg" alt="" width="1037" height="548" srcset="http://www.sensesofcinema.com/wp-content/uploads/2023/05/what-time-is-it-there-3.jpg 1037w, http://www.sensesofcinema.com/wp-content/uploads/2023/05/what-time-is-it-there-3-300x159.jpg 300w, http://www.sensesofcinema.com/wp-content/uploads/2023/05/what-time-is-it-there-3-1024x541.jpg 1024w, http://www.sensesofcinema.com/wp-content/uploads/2023/05/what-time-is-it-there-3-768x406.jpg 768w" sizes="(max-width: 1037px) 100vw, 1037px" /></a><p id="caption-attachment-46281" class="wp-caption-text">Shiang-Chyi meets the older Jean-Pierre Léaud at a cemetery in Paris.</p></div> <p><span style="font-weight: 400;">The different time zones in which these two narratives take place further reinforce our experiences of a temporality unhinged from meaning throughout </span><i><span style="font-weight: 400;">What Time is it There</span></i><span style="font-weight: 400;">? The film ultimately operates as Tsai Ming-Liang’s play with the language and philosophy of cinematic temporality, as the film’s disjointed layers of passing time refract a Taiwanese culture “out of joint” at the dawn of the new millennium.</span></p> <p><b><i>Ni na bian ji dian</i></b><b>/</b><b><i>What Time is it There?</i></b><b> (2001 Taiwan/France 116</b> <b>mins)</b></p> <p><b>Prod Co:</b><span style="font-weight: 400;"> Homegreen Films/Arena Films </span><b>Prod:</b><span style="font-weight: 400;"> Laurence Picollec </span><b>Dir:</b><span style="font-weight: 400;"> Tsai Ming-Liang </span><b>Scr:</b><span style="font-weight: 400;"> Tsai Ming-Liang, Yang Pi-Ying </span><b>Phot:</b><span style="font-weight: 400;"> Benoît Delhomme </span><b>Ed:</b><span style="font-weight: 400;"> Chen Sheng-Chang </span><b>Prod Des:</b><span style="font-weight: 400;"> Kam Tim Yip</span></p> <p><b>Cast:</b><span style="font-weight: 400;"> Lee Kang-Sheng, Chen Shiang-Chyi, Lu Yi-Ching, Tien Miao, Cecilia Yip, Chen Chao-Jung, Jean-Pierre Léaud.</span></p> <h3>Endnotes</h3> <div class='footnotes' id='footnotes-46279'> <div class='footnotedivider'></div> <ol> <li id='fn-46279-1'> Brian Liu, “Taiwan Striving to Stomp Millennium Bug”, </span><i><span style="font-weight: 400;">Taiwan Today </span></i><span style="font-weight: 400;">(1 January 1999): </span><a href="https://taiwantoday.tw/news.php?unit=29,45&post=36632"><span style="font-weight: 400;">https://taiwantoday.tw/news.php?unit=29,45&post=36632</span></a><span style="font-weight: 400;">. <span class='footnotereverse'><a href='#fnref-46279-1'>↩</a></span></li> <li id='fn-46279-2'> Liu. <span class='footnotereverse'><a href='#fnref-46279-2'>↩</a></span></li> <li id='fn-46279-3'> Gilles Deleuze, </span><i><span style="font-weight: 400;">Cinema 2: The Time Image</span></i><span style="font-weight: 400;">, trans. Hugh Tomlinson and Robert Galeta, Minneapolis, University of Minnesota Press, 1989, 41. <span class='footnotereverse'><a href='#fnref-46279-3'>↩</a></span></li> <li id='fn-46279-4'> Thomas J. Bellows, “The March 1996 Elections in the Republic of China on Taiwan”, </span><i><span style="font-weight: 400;">American Journal of Chinese Studies</span></i><span style="font-weight: 400;">, 3.2 (1996): 235. <span class='footnotereverse'><a href='#fnref-46279-4'>↩</a></span></li> <li id='fn-46279-5'> “Economy of Taiwan”, </span><i><span style="font-weight: 400;">Britannica </span></i><span style="font-weight: 400;">(2023):</span> <a href="https://www.britannica.com/place/Taiwan/Economy"><span style="font-weight: 400;">https://www.britannica.com/place/Taiwan/Economy</span></a><span style="font-weight: 400;">. <span class='footnotereverse'><a href='#fnref-46279-5'>↩</a></span></li> <li id='fn-46279-6'> “Taiwan Hits Recession with GDP Drop”, </span><i><span style="font-weight: 400;">CNN.com </span></i><span style="font-weight: 400;">(16 November 2001): </span><a href="http://edition.cnn.com/2001/BUSINESS/asia/11/16/taiwan.gdp/index.html"><span style="font-weight: 400;">http://edition.cnn.com/2001/BUSINESS/asia/11/16/taiwan.gdp/index.html</span></a><span style="font-weight: 400;">. <span class='footnotereverse'><a href='#fnref-46279-6'>↩</a></span></li> <li id='fn-46279-7'> Deleuze, 41. <span class='footnotereverse'><a href='#fnref-46279-7'>↩</a></span></li> <li id='fn-46279-8'> Christopher Vatale, “Guide to Reading Deleuze’s </span><i><span style="font-weight: 400;">Cinema II: The Time-Image</span></i><span style="font-weight: 400;">, Part 1: Towards a Direct Imaging of Time to Crystal-Images”, </span><i><span style="font-weight: 400;">Networkologies </span></i><span style="font-weight: 400;">(29 April 2011): </span><a href="https://networkologies.wordpress.com/2011/04/29/tips-for-reading-deleuzes-cinema-ii-the-time-image-towards-a-direct-imaging-of-time/"><span style="font-weight: 400;">https://networkologies.wordpress.com/2011/04/29/tips-for-reading-deleuzes-cinema-ii-the-time-image-towards-a-direct-imaging-of-time/</span></a><span style="font-weight: 400;">. <span class='footnotereverse'><a href='#fnref-46279-8'>↩</a></span></li> <li id='fn-46279-9'> Deleuze, 9. <span class='footnotereverse'><a href='#fnref-46279-9'>↩</a></span></li> <li id='fn-46279-10'> Catrina Sun-Tan, “Framing Time: Tsai Ming-Liang’s </span><i><span style="font-weight: 400;">What Time Is It There?</span></i><span style="font-weight: 400;">”, </span><i><span style="font-weight: 400;">Film Matters</span></i><span style="font-weight: 400;"> (7 May 2018): </span><a href="https://www.filmmattersmagazine.com/2018/05/07/framing-time-tsai-ming-liangs-what-time-is-it-there-by-catrina-sun-tan/"><span style="font-weight: 400;">https://www.filmmattersmagazine.com/2018/05/07/framing-time-tsai-ming-liangs-what-time-is-it-there-by-catrina-sun-tan/</span></a><span style="font-weight: 400;">. <span class='footnotereverse'><a href='#fnref-46279-10'>↩</a></span></li> <li id='fn-46279-11'> Lee Carruthers, </span><i><span style="font-weight: 400;">Doing Time: Temporality, Hermeneutics, and Contemporary Cinema</span></i><span style="font-weight: 400;">,</span> <span style="font-weight: 400;">Albany, State University of New York Press, 2015, 96. <span class='footnotereverse'><a href='#fnref-46279-11'>↩</a></span></li> <li id='fn-46279-12'> Steven Swarbrick, “In Anthropocene Air: Deleuze’s Encounter with Shakespeare”, </span><i><span style="font-weight: 400;">Early Modern Culture</span></i><span style="font-weight: 400;">, 13.8 (2018): 103. <span class='footnotereverse'><a href='#fnref-46279-12'>↩</a></span></li> <li id='fn-46279-13'> Deleuze, 3-4. <span class='footnotereverse'><a href='#fnref-46279-13'>↩</a></span></li> </ol> </div> </section>  <footer class="article-footer"> <div class="cb-social-sharing cb-post-footer-block cb-beside cb-social-box clearfix"><div class="cb-title-subtle">Share On:</div><div id="fb-root"></div> <script>(function(d, s, id) {var js, fjs = d.getElementsByTagName(s)[0]; 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