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date: 18 October 2019

Abstract and Keywords

Tsai Ming-liang’s 1997 film The River features one of the most challenging scenes in contemporary Chinese cinema: a graphically sexual encounter in a dark bathhouse between two men who belatedly recognize each other as father and son. This chapter uses an analysis of the dialectics of desire and alienation that drives this scene to reexamine some of the implications of cinematic suture—both as it is deployed in this particular film, and also more broadly as a metaphor for the relationship between viewers and a general field of cinematic production.

Keywords: Tsai Ming-liang, The River, suture, incest

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