History·Landscape·Character:Hou Hsiao-hsien's Film Review

As one of the representative figures of Taiwanese film,Hou Hsiao-hsien is considered one of the most important filmmakers of the contemporary era because of his consistent theme and personal style.This paper mainly conducts a comprehensive study on the history,landscape and characters of Hou Hsiao-hsien's film.In addition to the introduction and conclusion,the main part consists of three chapters.The first chapter discusses the landscape of Hou Hsiao-hsien's film,from the film aesthetics and narrative,including the universal use of long-lens,the overlap of nature and humanity,the integration of realism and lyricism,and points out that Hou Hsiao-hsien's dialectic through sound and image The memory of the people to question the historical narrative.In terms of spatial processing,not only the long-lens deep-focus rendering of indoor multi-level space activities reflects the rise and fall of the family and historical destiny,but also the rich spatial level of natural landscape and human landscape to spread the multi-colonial life experience.The second chapter discusses the characters of Hou Hsiao-hsien's films,starting from autobiographical genres and marginal figures,including personal autobiography,puppet representatives,female characters,etc.It is recorded that all the works of Hou Hsiao-hsien in the 1980s and 1990s are clearly presented in autobiographical form.In particular,he loves the description of personal life trajectories and the creation of marginal characters as a theme.Through recalls,he evokes problems of historical staging,epoch title,dynasty and description of time structure.While examining and exploring the past,the female character represented by Kuanmei provides another form of historical time in his films to tell non-directed personal historyThe third chapter discusses the historical writing of Hou Hsiao-hsien's film,starting with Taiwan's new film,continuing to focus on history throughout the new film movement,and publicizing the local consciousness.Through two reasons that the influence of the native writer Shen Congwen and the collective creation from the Taiwanese generation of filmmakers.Including the focus on history,daily trivial records,major event restoration,and through the four works "Daughter of the Nile","Dust in the Wind","Good Men,Good Women" and "A City of Sadness",to show that Hou Hsiao-hsien's history perform non-dramatic real writing with humanityHou Hsiao-hsien tells the historical narrative in history,landscape and character expression.He really pays attention to the kind people and their simple life feelings and dreams in the ethnic interests,and sheds a rich history and care.