| After 1949, the movie framework in which Shanghai was the center of the three places on the shores of the Taiwan strait was broken because of the well-known political and historical reasons, and the persons indicated in the movies in these three places began to work independently since then. Their confluence hasn't been begun until the end of the 1980's. During that period of time, the politics, economy, culture in these three places had changed extremely, and the split and reunification of the movie had led to the different history of the three places. After half a century devious development, as the systems of Hong Kong and Taiwan's movies had become more and more mature, their localization had finished through the communication with the world, and their movies had become more and more international, native, and modern. They show themselves on the international movie circle and greatly differ from the movies of the mainland in the style, representing another aspect of Chinese movies. It is obvious that the art movies that represent the regional character and possess humanistic connotation have not been systematically and roundly studied by the mainland experts due to the history of separation and the shelter of the commercial mainstream movies. However, the art exploration of the art directors with the "other way" in the special culture and commercial environment become the larruping scene in the movie history of the Hong Kong and Taiwan, even the world.This paper treats the eccentric directors as a special phenomenon to analyze and sort out the movies in three aspects. We know about the experience and lessons to movie development of mainstream of commercial .Chinese ,and oriental movies by the analysis of exist environment and art space of "eccentric director".The first part talks about the exist text of "eccentric director" .In this paper the term of "eccentric" don't means unconventional style, but means an embarrassed identity in special cultural situation. The mainstream of the movies in Hong Kong and Taiwan are the result of popular culture. Commercialization makes arts a market-driven and consumer-driven culture. The first thing which creators concern is not the artistic and aesthetic value, but the seating rate and profit. And the value of art products depends on their exchanging value, rather than their artistic value. While the mainstream of commercial movies is addicted to so called five ploys (five tou) movies, they are pillow (zhen tou), fist(quan tou), stun(xue tou), ghost(gui tou), gambling(du tou), some directors whopersist on artistic movies bump against the true social being with a high degree of cultural awareness and artistic consciousness. They face the reality, which is covered or twisted in other movies, and exhume the expressional potential of movies as an art. While breaking the traditional form, they simultaneously set up characteristic scenery of their own. These directors have made eminent achievements on their historic and culture contents of great diversity and depth,-their self-driven renovations on movie language, their mellow and distinctive personal styles, their explorations on subject matter and their innovations on the expressing technique. Thus, they have a good fame in the international movie circle. This paper selects Hou Hsiao-Hsion, Yang Dechang and Wong Kar-Wai to draw an outline and make an analysis, because their artistic achievements, status and 'other' stance are the most representative. While they confront the mainstream commercial movies during the transition from traditional movie to modern movie, their artistic exploration had a great success in the 1980s and kept a hearty life in the 1990s. They have been identified as the movie-speak-men of Hong Kong and Taiwan for their frequently awarded movies, representing the highest level of artistic movies in the two places. The second part analyze the art character of "eccentric director" .Although the "eccentric director" is an illegible concept that could not be quantified as reference and comp... |
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