Mosaic Space and Mosaic Auteurs

Mosaic Space and Mosaic Auteurs constructs a model of mosaic, which extends our focus beyond narrative strategy, to approach the trend of diverse multi-strand films across genres, nations and filmmaking contexts since the late 1980s. Different from investigation of this recurring global phenomenon from perspectives of spectator engagement, narratology, cognitive understanding and socio-political messages, proposed by film scholars, the model of mosaic helps establish the intertwining relationship between narrative, aesthetics, transnational production, and distribution modes - and in the framework of contextualised geopolitical spaces.

As the transnational auteurs in question draw talents, resources, and subject matters from a wide range of geopolitical spaces along their border-crossing journeys, their films juxtapose diverse spatial configurations. In fact, "mosaic" is a spatial metaphor which puts emphasis on the visual image of spaces and links space, narrative, and authorship into a multidimensional model of spatial compilation. It is a mosaic which gathers, groups, juxtaposes, and re-arranges spaces, offering a reading of mosaic beyond an exclusive focus on narrative - its nuances are examined in detail in different mosaics of Alejandro González Iñárritu, Atom Egoyan, Hou Hsiao-hsien, and Michael Haneke.

Auteur

Yun-hua Chen studied linguistics and film studies in Taiwan, France, and Scotland, and obtained her PhD in Film Studies at the University of St. Andrews (Scotland) in 2011. She writes both academic articles and film reviews in English, Chinese and German. Her articles can be found in the Directory of World Cinema: China (University of Chicago Press 2012), and the Journal of Chinese Cinemas (Taylor & Francis), among others.

Résumé
Mosaic Space and Mosaic Auteurs constructs a model of mosaic, which extends our focus beyond narrative strategy, to approach the trend of diverse multi-strand films across genres, nations and filmmaking contexts since the late 1980s. Different from investigation of this recurring global phenomenon from perspectives of spectator engagement, narratology, cognitive understanding and socio-political messages, proposed by film scholars, the model of mosaic helps establish the intertwining relationship between narrative, aesthetics, transnational production, and distribution modes and in the framework of contextualised geopolitical spaces.As the transnational auteurs in question draw talents, resources, and subject matters from a wide range of geopolitical spaces along their border-crossing journeys, their films juxtapose diverse spatial configurations. In fact, "mosaic" is a spatial metaphor which puts emphasis on the visual image of spaces and links space, narrative, and authorship into a multidimensional model of spatial compilation. It is a mosaic which gathers, groups, juxtaposes, and re-arranges spaces, offering a reading of mosaic beyond an exclusive focus on narrative its nuances are examined in detail in different mosaics of Alejandro González Iñárritu, Atom Egoyan, Hou Hsiao-hsien, and Michael Haneke.