A Study On Identity Of Taiwan Films Since The New Millennium

In the 1980s, the Taiwan New-Wave movement has been in the ascendant, and a group of young directors with great ideas have grown up fast. After the short-term prosperity, the New-Wave movement ended carelessly. In the 1990s, a group of young filmmakers returned from overseas have entered the film industry, which is called post-New-Wave movement. Whether the New-Wave movement or the post-New-Wave movement can’t save the steadily deteriorate local box office of Taiwan films. In the early new millennium,Hollywood occupied the box office. After the new millennium, as the beginning of "Sunny Doll" in 2000, followed by the impressive "Blue Gate Crossing" to the "Cape No7" which made the box office victory, youth films filled with the film screens of Taiwan. Correspondingly, a large numbers of new filmmakers of new generation came into Taiwan’s film industry, becoming the new force to be reckoned with.When we research the historical development of Taiwan films, we find that the identity of Taiwan films is a very important factor. Therefore, we are going to study the identity of Taiwan films systematically. We have chosen the new millennium as the time node, because it’s an important turning point for the box office of Taiwan films recovering slowly from the bottom, and is also a period in which the intergenerational directors co-creator films. What’s more, we have chosen the research methods which combine content analysis with text analysis. We will select several films which are representative and important in all hundreds of Taiwan films since the new millennium, and study these films both quantitatively and qualitatively.Our study will be divided into three sections. The first section focuses on the movie characters, and explores what characters have been active in Taiwan films since the new millennium and what kind of identity these characters represent. The second section focuses on the time and space of Taiwan films, and explores the sense of time and historicality in Taiwan films, combined with the semiotic analysis of film space. The third chapter focuses on the special nostalgic symbols in Taiwan films, and explores the cultural nostalgia, collective memory and identity behind these symbols.