The Oriental Charm Of The Image Style

The works of director Yasujiro Ozu in Japan and director Hou Hsiao-hsien in Chinese Taiwan have been highly praised by the film circle. As the Asian directors, Yasujiro Ozu and Hou Hsiao-hsien integrated the national traditional elements with the artistic form-film. Meanwhile, they also conducted the creation with personal characteristics. This paper explored their film works in the context of oriental aesthetics to provide enlightenment to the film development in China by studying their origins of oriental aesthetics as well as the corresponding enrichment and expansion.This paper can be divided into five parts as follows:The introduction part mainly described the reason for topic selection as well as its significance. Further, this part simply introduced the referenced research works as well as the applied research methods.The chapter one introduced the current situation of oriental film aesthetics as well as its effect on the works of Yasujiro Ozu and Hou Hsiao-hsien. This chapter mainly introduced the current situation, characteristics of oriental film aesthetics as well as its effect on the work styles of Yasujiro Ozu and Hou Hsiao-hsien. Then, this chapter summarized the characteristics of oriental artistic creation to explain the features of oriental aesthetics as well as its reflection on the film aesthetics by comparing the different primitive thoughts in the east and west. Meanwhile, this chapter also simply introduced the work styles of Yasujiro Ozu and Hou Hsiao-hsien under the influence of oriental aesthetics.The chapter two was mainly about the origin of oriental aesthetics in works of Yasujiro Ozu and Hou Hsiao-hsien. This chapter analyzed their inheritance of oriental film aesthetics form including the oriental film aesthetic connotation and implication. The inheritance of oriental aesthetics form of two directors mainly reflects on the choice of poetic expression form at the time of constructing the works as well as the application of oriental lens language. More importantly, the inheritance of oriental film aesthetic implication mainly reflects on their image application and artistic concept creation.The chapter three was about the expansion of oriental film aesthetics of Yasujiro Ozu and Hou Hsiao-hsien. This chapter analyzed that the film works of two directors enriched the oriental film aesthetics connotation and the oriental aesthetics expression form. Concerning their enrichment on the aesthetics connotation, this paper mainly analyzed their different explanations on the motif “recurrence”, which is reflected on director Yasujiro Ozu’s concern on the “family” as well as Hou Hsiao-hsien’s preference on the “provincialism” respectively. Further, the enrichment on the aesthetics expression form is mainly reflected on Yasujiro Ozu’s usage of ordered and regular lens language as well as Hou Hsiao-hsien’s preference on the poetic lens language.The chapter four was about the enlightenment of the works of Yasujiro Ozu and Hou Hsiao-hsien to the film development in China. This chapter summarized two conclusions: the oriental film aesthetics art shall be integrated with the global art; the author’s individuality shall be integrated with the era aesthetics at the time of creating the film works. This paper held that the integration between oriental aesthetics art and global art shall be conducted from two aspects. One, integrate the poetics representation with commercial aesthetics; two, integrate the national film localization with reception aesthetics. Concerning the integration between individualized creation style and modern aesthetics, the film works in China shall not give up the tradition at the time of meeting the modern aesthetic needs.