Taiwan New Films:System And Culture

Taiwan new films,Chinese Mainland fifth generation films and Hongkong new wave films constituted the development landscape of Chinese films in the development pattern of films on both sides of China during 1980s.Taiwan new films are characterized by their realistic expression and outstanding native experience and become major film form,which differ from the fifth generation "image fables" in Chinese Mainland and the new wave commercial aesthetics films in Hong Kong.The development of Taiwan new films includes two phases:Taiwan New Film Movement(1982-1987)and the continued development after "Unrestriction" in Taiwan(1987-1989).Taiwan new films have rich cultural and artistic connotations,but the particularity and value of Taiwan new films lies not only in their cultural and artistic level,but also in the production practice of the films with regional characteristics.Considering the generation of image meaning is the result of film production practice,the investigation of Taiwan new films production practice will bring a new perspective to the understanding of Taiwan new films,and also help to guide the speculative research on the culture and art value of the films into a more empirical discussion.This thesis tries to explore the production practice of Taiwan new films from "the perspective of art world" and "the perspective of cultural production",and put together the collectivity,process,materiality of Taiwan new films production and the nativeness,subjectivity,modernity of the cultural experience in Taiwan new films into the investigation of the situation of Taiwan modern society.The thesis focuses on how Taiwan new films moved in and negotiated with the existing cultural and political system of Taiwan,and then used the economic resources and the market rules of Taiwan society to realize the non-traditional films production and the creation and acceptance of the new aesthetic ideology at that time in Taiwan society with high degree of economic modernization and market openness and political conservatism.The thesis completes the above research idea through four chapters.The first chapter focuses on the historical field of Taiwan new films generation,and discusses the inevitability of Taiwan new films from the social and industrial environment.The second chapter clarifies the specific development process of Taiwan new films and describes the periodical characteristics of their development.The third chapter discusses the system and mechanism problems involved in Taiwan new films production practice,including the investigationg of film policies,policymaking bodies and public and private film companies’ activities and the tracking of the construction process of Taiwan new films discourse and their overseas communication.The fourth chapter turns from the production practice to the discussion of the film text that is the result of the practice,which means to analyze the metaphorical nature of production-the production of symbols and the creation of meaning.Three aspects are emphatically analyzed in the fourth chapter:the image forms of native experience,the construction of subjectivity and the reflection of modernity,and the social and historical connotation of realism.