Elvis, allow me to introduce myself : American music and neocolonialism in Taiwan cinema

Music in Edward Yang\u27s film oeuvre is characterized by a wide variety of styles. Disparity and disjunction seem to be key to Edward Yang\u27s work. The disparity between the English and Chinese titles in several of his films points to Yang\u27s embodiment of a hybrid identity: American, Chinese mainland, and Taiwan cultures. Born in Shanghai of Hakka origin, raised in Taiwan as a second-generation mainland emigre, and trained and employed as an engineer in the United States, Yang shuttles between his Chinese upbringing and a cosmopolitan sensibility. Compared to the films of another Taiwan director, Hou Hsiao-hsien, who prefers rural motifs, Yang\u27s works are marked by urban themes and, more important, glocal, hybrid cultural sentiments and wry humor