| In a turbulent era with active interaction between the global culture and localcultures, Ang Lee's movies have not only been popular with various exhibitions andmainstream theatres, but magically seized hearts of audience in different countries andnations. However, his movies have not aroused much enthusiasm of study in Chinesecontinental academic researchers, the major cause of which can be attributed to thefact that, in an environment dominated by "the Fifth Context" which takestradition-rebelling as its major task, these researchers regard that, being notmainstream enough and lacking depth, Ang Lee's movies have not shown enoughrebelling against Chinese traditional culture; or, as trapped in the self-set backgroundof "Chinese-Western cultural confrontation", these researchers have neglected theinclinations contained right in the movies. This paper believes that "Tradition", in asense of great culture, not only refers to the Chinese traditional culture, but alsoincludes the tradition types for movie classification and the western cultural tradition.Ang Lee's movies are unique just because while keeping a balance between varioustraditions, they have preserved strong national features. However, Ang Lee has nottreated all kinds of traditions in the same way: In movie forms, when inheriting theappearance of movie genre, he assimilates their inner signal kernel; in movie contents,he adopts the method of historic description for Chinese tradition and that of focusedperception for westem tradition. Therefore, taking tradition as a vertical line, thispaper analyzes Ang Lee's complex attitudes towards traditions and the real causes forthe charm and attraction of his movies through four deepening aspects, that is, thesurface aspect of being misunderstood, the form aspect of being anti-genre movies,the content aspect of reflecting on eastern and western cultural traditions and theaesthetic aspect of making up cultural ruptures with a method of balance and an angleof view of the common.
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