Movie Knowledge

 Hong Kong, Taiwan
Hou Hsiao-hsien: Guangdong Meizhou who's six months of 1948, Hou Hsiao-hsien dissatisfied with his family moved from Guangdong Meizhou, Hualien, Taiwan. Family originally wanted a guest for several years, but, unable to return to their homeland for political reasons, it can be said that Taiwan's Hou Hsiao-hsien longer than : mango run, young Hou choose calmly stay put and enjoy his success. the whole street is very lonely. far away sound of a bicycle difficult rotation, the sound is so weak, can not distinguish a bicycle came from and also where to go. tree The following is an independent world, was out of a turn, while they disappear. sitting in a tree juvenile Hou Hsiao-hsien clearly felt slightly hot wind, quiet cicada, human activity. He suddenly felt lonely. if the condensation time and space there. this impression until he began writing grew up to become the keynote of his most important works: a overlooking the dead bystander. warm, but with distance, so absolutely clear. in retirement, and the first choice to enter the film subjects attend art school at the time (now converted into a National Institute of Arts) .1972 years, Hou Hsiao-hsien successfully graduated from the school, the year he was 25 years old. graduate of Hou Hsiao-hsien, in the Yu Huang a year later, and finally in 1973 in the Lee film contact and love. from the 1979 Golden Horse Awards for best dramatic film and best adapted screenplay.
1981 年 Hou shoot first feature film, Hou Hsiao-hsien films became marked .1982, he has gained a lot of scene, the hero A Qinghe companions with nothing to do, they see white drama, gambling, Cheng Yong fighting hard. finally have the time, because they had too much trouble so much noise, police discipline, so the wind together to leave the Penghu Islands in the cabinet mm a island, they inhabit the home, came to the bizarre Kaohsiung, everything changed, they felt at a loss for the city, unfamiliar, anxiety and fear. in both the switch in the living conditions, Hou Hsiao-hsien's trying to convey the mood is not made the metaphor. In the same year he photographed the before hanging behind thick billboards, street walk in the sun heat, publicity. but when the tree to remove make-up of the oil-kun, the father son Jingbu know, scared crying together. He had no choice but re- dressed as clowns, to win the favor of his son. calm to start with his long lens of Chinese landscape painting is full of endless blank screen, and images are a small town in Taiwan, clothing, Junior the green plain, old decrepit Taiwanese grandfather ... and everything in the audience at the wait and see The simple lens, feel a deep emotion and image extension.
1985, the Hou shot planned semi-autobiographical film, representative, and in the eyes of most of the watching public, it passed the growth of a lengthy journey that it is making his tears. the beginning of the film is his own voice, about the family's migration to Taiwan from Meixian Fengshan, quiet fixed lens, patting his childhood home, and home centers m father. and then the lens to the old woman cried with her gentle voice ... all three of the movies recorded on the death of Lens impressive: remember the family from his father the pain of death,UGG bailey button, death to the mother, the son of solemn silence, and finally grandmother's death,UGGs, has become only the narration of the readme. in the narration to the death of her mother recalled: Hou Hsiao-hsien work is romantic, poetic. then the , but also through the choice of characters and space, the plot of the story arrangement, etc., recorded Taiwan's ; the former resort to the audience's attention, the latter highlights the audience's social position. lay in the long lens, the audience watched the distant society, but clearly felt a close emotional accumulation mm thick simple village on the screen, vivid fields and rules for people in a good long life of the default track dotted with space and time, while the story tends to occur in this age and location. We Hou Hsiao-hsien's movie, see of the self's childhood play-off game, and crouched back door waiting for adults experience the joy of eating an ice cream hh these trivial and insipid,cheap UGG boots, the plot seems to only attract children accumulated, but why form a one moved the whole movie works. If Hou Hsiao-hsien trying to convince the audience moved through the lens, or Hou Hsiao-hsien is not touched the hearts of the audience, really impressed us is that we have.
1987 years of Hou Hsiao-hsien has been an unprecedented criticism: the length of the lens than the people confused the depressed, boring experience. in the is representative of a lack of natural, but could not bear people. For all the criticism in good faith or provocative, Hou Hsiao-hsien accept, but he is more silent than usual. In the same year's obscure meaning in the lens, the line of sight in the audience is an ordinary real love story, adding a natural life process. actor to Kinmen as soldiers, mutinies, actress and married the postman every day to deliver mail. This could have a word to finish things, but actually grabbing the hearts of the audience up to 102 minutes. everyone is trying to find my own products through the shadow of the film, everyone knows who this love is not the fault of the end .
after 2 years of silence, he finally show the world his super-talented culmination fade out. But Classic. side, it's still the matter concerns casual voiceover, is still vivid sentimental soft glow, too familiar, and everyone in my heart that, or Hou Hsiao-ah! SD Sullivan Hiromi hard to maintain the edge in time and space of love, tolerance, and we come from emotions, generous singing , but believe the father not guilty. sad memories, Chen Yi, the film represents both the official narrative, or the width of the U.S. journal, is let the audience see the so-called recovery of Taiwan's historical narrative is so full of original breaking, full of sadness. and Hou Hsiao-hsien himself to accept interview, said: , emotion directly, but to sing and listen to the songs people will find their sustenance in the space, not about to escape, but saw the resilience of people. Alternately, multiple views of the Li Tianlu memoirs; again presents the history of ruthless repression of the people are sad. is apt to show the roots of Taiwanese half-life experiences of artists, close-up effect of giving up independence, Hou Hsiao-hsien, is to avoid the montage on the audience perspective deliberate manipulation, while trying to push the audience's perspective in any given outside the audience and the characters are isolated from the inner world to wait and see attitude in plain non-dramatic capture of a piece of daily activities. ; This is Hou Hsiao-hsien believe in the concept. This movie soundtrack is also very special, with a Taiwan native yueqin replace the traditional guitar, yueqin wave, those from the countryside folk songs are simple voice to warble through out But suddenly, and released into the atmosphere in the clamor of the crowd or the air with earthy. like most of Hou Hsiao-hsien's film style. No matter how much pain and recollections, the camera is the stretch of a turn lies to
1995 年Hou continued his long-shot style, but poised to give up the rest of the lens, take the belt of the dynamic effect of shaking up and down, at that time so many fans are familiar with his great sense accidental. Love is also clearly be marked with the stigma of the times: When the girls know Zhonghao Dong Jiang Biyu when sixteen-year-old, when Chiang was a young nurse, Zhong Haodong it is because the hard over and made a slight neurotic patient, They often speak together,Discount UGG boots, then there are Zhonghao Dong strong national consciousness, and said he was to the revolution, do not get married, Jiang Biyu always listen, he said to his grand ideal, romantic sense of the motherland, retain a vague respect for all, thinking, if not married Ye Hao, quietly decided to follow him. This is life with the things ... that three consecutive launch, reflecting the different background of films, has become Taiwan's single, different time and space processing.
1998 years of things are welcome to provoke, the worth of pet, but still a solitude, gorgeous, but decadence. it is impossible to imagine that Taiwan's Hou Hsiao-hsien film from the story of old Shanghai, actually can be so smooth and restrained. It is said that Hou Hsiao-hsien in response to a reporter on the limitations when the answer is: to this community to get away. ; love to yesterday to stop extension of the traditional framework of the film will therefore be completely broken. It may also be thought of avant-garde Hou Hsiao-hsien.
director works:
Goodbye (1996)
br> Hasty holiday
statesmen have great antiquity, to teach the child is very strict, even for a long time even on holidays at home, the line bow ceremony. Lee is in such a strong family atmosphere in China grew up, the family gave him only immersed in Chinese culture, the patriarchal family model in China typically works for his future life provides the basis for even the original material.
Although Lee was kind of education, living in this environment, he fell in love with In 1973 the film and the performances he made a decision to let my father very angry mm passed the film department of the Taiwan National Art Theatre, to Taipei for further studies. In the traditional family, in the performing arts is simply outrageous, Lee's father, even in the After a long time also angrily endless. at art, the Ang Lee becoming more interested in acting, drama competition in Taiwan also had access to the best actor award Tertiary.