Study On The Taiwan Experimental Films

The experimental films after the first World War are the artistic expression of the movie makers' fight against commercial and social mainstream political discourse,while exploring the relationship between experimental technology and social contradictions,we also focus on presenting abstract and non coherent fragmented narrative features.Taiwan experimental films began in the 60 s of last century.The twenty years after that were the prosperous period of its development.With the change of the political environment in Taiwan,the experimental films with different features show different forms of film processing,digital film innovation,and space creation of the device art in different periods.In the period of Japan,the period of "martial law","martial law",and the reform of the new cen tury Taiwan experimental films in the political context,the historical wounds and the loss of public identity are written in the perspective of the third world countries,and the writing style of relieving self identity anxiety is e xplored in the misplaced "national" identity consciousness.It refle cts the urgent vision of Taiwan experimental movie's creation consciousness and rebuilding identity.This paper focuses on the cultural value and thinking space presented in the brief development of Taiwan experimental films.At the same time,this paper takes the birth track of the world experimental film as the starting point,and combs the production and development of Taiwan experimental films from a historical perspective.According to the view of Taiwan experimental film man Wu Junhui,Taiwan experimental films are divide d into s ix stages.T hese six st ages show the arti stic value of Taiwan experimental films in d ifferent degrees,and the efforts made by experimental films to promote experimental films.On this basis,this paper compares the production and development of Taiwan experimental films with t he Chinese m ainland experimental films,thus exploring the trend of film development in different cultural systems.From the perspective of film aesthetics,the artistic features of Taiwan experimental films are viewed.The poetic imagination in the image language shows the basic features of the Taiwan experimental films through the recording and symbolic expressions.The experimental expression of the native narrative technique and the declarative reality and the unknown scene is particularly obvious.In addition,this article enumerates five m ost representative experimental film creators,i ncluding Wu Junhui,creative Shi Changjie in the field of experimental animation,Huang Tingfu with a record point of view,and Tsai Mingliang,the representative of the "post new film",which focuses on the expression of freehand time and space.Wu Misen,who integrates poetry into narration and philosophic thinking,then looks at the basic landscape of Taiwan experimental films from their representative works.Based on Jameson's "third world allegorical allegory" as the theoretical support,from the perspective of cultural research,this paper explores the complex Taiwan social and cultural structure in Taiwan experimental films.There is an i nseparable relationship between the Taiwan experimental films and political discourse written in the colonial historical pain and identity anxiety.The pursuit of "national ethnic" and identity and the image of Japan in the symbol of the film symbolize the change of Taiwan's attitude from passive to active in the process of cul tural colonization and the opposite of Taiwan in the process of cultural colonization,and recall with nostalgia in colonial era.In other words,a highly rebellious Taiwan experimental films avoids its vague "national identity" in the global context through the way of landscape writing.