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The Renaissance And Transiton Of Taiwan’s Film During The New Century

Posted on:2015-08-24Degree:MasterType:Thesis
Country:ChinaCandidate:Y G P OuFull Text:PDF
GTID:2285330422972725Subject:Theater, film and television
Abstract/Summary:PDF Full Text Request
Taiwanese film is an indispensable part of Chinese film, this dissertation studiesthe legacy of the1980s Taiwan’s new film movement, and the transformation of formand style of contemporary Taiwanese film, and the renewal of the film market. Moreimportantly, this dissertation attempts to use "Movie Spirit" to connect the creativepractice of two times, and to seek the established spirit coordinate of the new filmmovement inheriting in the trend of the typification and industrialization ofcontemporary Taiwanese films.This dissertation has five sections. The first is the instruction which illustrates thebackground, research methodology and literature review. The second part introducesTaiwan’s new film movement in the1980s to explain the specific meaning of traditionalTaiwanese "movie Spirit". The third chapter focuses on the movie "Cape No.7" whichrepresented a turning point in contemporary Taiwanese films, through a detailedanalysis of the film and text found Taiwanese film unconsciously stepped into a"post-cape era". The fourth section describes the creation of forms of contemporaryTaiwanese films, under the creation of the youth film style which inheriting "CapeNo.7", exploring the gains and losses of youth films to reveal that Taiwanesefilmmakers are in a particular creative ecology which is under tension between chasingthe typification and maintaining the original characteristics. The author uses tworepresentative works,"Monga" and "Seediq Bale " as examples, to analyze thatTaiwanese film having marked "fresh" label today, the creators had been already onroad of movie revival which mixed “change” and “return” in fact. The fifth chapteris to study the environment of Taiwanese film movie in today’s Chinese film market,and to explore how to keep their vitality and competitiveness under the "co-production"film trend. In the final section, the author believes that Taiwanese youth filmmakers areinjecting the historical tradition of Taiwan New Cinema movement into the process offilm transformation and rejuvenation.
Keywords/Search Tags:Taiwan’s Film, Cinematic Creation, Film Style, Film Transformation, Film industry
PDF Full Text Request
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