digs out the best stories in the world, Serena will show you the movies! Hello fellow readers! Although
movies are foreign art, they have a history of nearly 70 years in Taiwan. In order to adapt to the appreciative habits and aesthetic tastes of Taiwanese, from content to form, it has its own national characteristics. Reflect democratic life. Movies with national characteristics must first reflect the social life of the nation.
such as "Aboriginal People" not only describes the life of Taiwan's native urban and rural areas, but also shows the life of the mainland people in a specific environment, their lifestyle, production methods, customs and customs. However, not all films that reflect the life of the Chinese nation have national characteristics. The "Last Emperor" directed by Bertolucci, although it is based on Chinese stories, filmed ancient Chinese buildings and dressed in ancient Chinese costumes. It is an Oscar Award, but in terms of life taste and aesthetic concern, it lacks a true Chinese flavor, and has no trace of Chinese cultural thoughts and art. Therefore, this film is not a Chinese nationalized film work.
In addition, national character is the externalization of the relatively stable basic psychological characteristics of a nation formed in the long historical development of a nation. The Chinese nation is not only known for its hard work and bravery, but at the same time, it also loves freedom. It is fully embodied in "City of Sadness" and other films. Deep and reserved is an aspect of the national character. For example, Gu Yumei, after becoming Lao Mo's wife, severely condemned the entanglement of the golden tree, obtained a rational balance on the balance of responsibility and emotion, both reserved and full of confidence. Both fortitude and almost stubborn.
Freedom, ruggedness and boldness are another aspect of the national character. General Zhang Zizhong was fighting against Japan. At the critical moment, he put his life and death out of danger, carried forward the fearless revolutionary spirit, and sacrificed heroically for the benefit of the nation and the nation. The character of General Zhang Zizhong has got rid of the graceful and elegant aesthetic style, showing the choreographer's tragic, majestic, powerful and profound aesthetic ideals.
Taiwanese film workers, with multi-toned pens, meticulously depict pictures of the brilliance of the national traditional culture, which may be cold and solemn, or long and simple, fresh and distant, or elegant and timeless: In "Duck Raising Home", the clear river and warm ducks; in "Lao Mo's Second Spring", the mysterious and active Gaoshan countryside and noisy small towns; "A Day to Watch the Sea" "In ", the sea and the narrow, cramped wooden houses on the seaside that were integrated with water that day; in "The Story of a Small Town", the traditional handicrafts that inspired the audience to remember the past, and guide people to trace the origin of the deer full of cultural relics Port town....... The protagonist of
strives for survival in patience, seeks development in difficulties, eager pursuit of truth, goodness and beauty, perseverance, and tenacious vitality are all manifestations of the national spirit of the Chinese nation. Many films, through the encounters of the characters, show the destiny of the sorrows and joys of the nation. For example, in "City of Tragedy", the Japanese girl Shizuko is about to return to China, and Kanei sits by the window. Teach Chinese children to sing. Two young men and women who have family hatred and hatred for the country, in a beautiful situation, respect each other's national feelings, so that the audience can realize the beauty of human nature and affection.
is also a social violence film. When filming by Hong Kong directors, they tend to render violent scenes and shots to create visual stimulation; while Taiwan’s Tsai Yangming’s triad movie "Big Head Boy" is less violent and more moral. The meaning of teaching. The film does not deify the big head of the underworld boss, but from the perspective of human nature and human feelings, it describes the big head boy's experience in the underworld; the life atmosphere is strong, especially the emotional description and treatment of the big head and the boss like father and son, which is more sincere and touching. So this is one of the reasons why Taiwanese movies are more touching.
The pictures of weddings and funerals in Taiwanese films are the most prominent and strongest showing the national customs. The traditional customs here are conservative and more enjoyable. The local folk culture exists as a characteristic element of film art. Whether it is the high-rise buildings of Taipei, the ancient style of Tainan, the scenery of Sun Moon Lake, the hot springs of Beitou, the harbor of Kaohsiung, and the mountains and forests of Hualien, they all constitute the local cultural atmosphere of Taiwan. Concrete. Show the national spirit. The traditional cultural spirit of the Chinese nation runs through the ethical concepts of Confucianism and Taoism, which are forgiveness, human affection, family affection and nostalgia. Many Taiwanese films emphasize filial piety, loyalty, benevolence, and chivalry, while criticism does not emphasize faithfulness, unrighteousness, morality and morality.Taste captures the hearts of the audience.
