The Study On The Narrative Art Of Tsai Ming-liang’s Films

In 1990 s, Tsai Ming-Liang is one of the most watched directors, but also the achievements of outstanding directors in Taiwan（region）. So far, Tsai Ming-Liang has shot 11 feature films.The unique film language and film style not only enriches the Chinese film form, also for Chinese films to enter the world. Tsai Ming-Liang has always insisted on individually creating. His film has unique shooting style and the theme of unity. All of these make him become one of the world’s most film personality style movie author of contemporary Taiwan（region）’s film industry. His movies often show Taiwan（region）relationships in contemporary social alienation, the social environment changes, family ethics, dies of movie, and sex and gender issues. This paper analyzes the narrative art research of Tsai Ming-Liang’s films by the perspective of film ontology.The first chapter: the narrative content of Tsai Ming’s films. This chapter analyzes narrative content of Tsai Ming-Liang’s 11 films, which show us the narrative content characteristics of the film: the marginal survival figures, alienation of the city and the family, and the classic elements in the films.The second chapter: narrative method of Tsai Ming-Liang’s films. This chapter, through the analysis of the scene in Tsai Ming-Liang’s films and plot, shows us the special time and space and the different drama structure.The third chapter: Tsai Ming-Liang’s film narrative style. This chapter analyses film language which contains long shots, simple dialogue, the light of the true sense and so on. And this chapter also tells us the naturalistic aesthetic style of Tsai’s films, and the causes of the style.Tsai Ming-Liang is concerned about urban life, always in an unusual perspective to show the city of loneliness, helplessness, despair of life, which also makes his film controversial. The limitations of the subject matter, dark pessimistic tone, relatively strong sense of criticism, which let the most of the viewers are far away from the movie of Tsai Ming-Liang.