지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
Taiwan New Cinema continued for a long period, from 1982 when did appear In Our Time, a anthology film by Tai Te-Chen, Edward Yang, KoI-Chen, and Chang Yi to 1996 when Edward Yang made Ma Jiang. Taiwan New Cinema was formed by two different, but linked, processes of transform. The first was a set of films reflecting the problem of fact and reality that emerged among contemporary Taiwanese writers’ debates. The second was those films dealing with historical events and landscape that were prohibited during Chiang Kai-Sek’s regime. Both sets of films, although formed through different relationships, ultimately focused on the problem of Taiwanese identity. In this respect, it is not exaggeration that Taiwan New Cinema was a set of probings of Taiwanese politics, society, and culture in transition.
The beginning of such cinematic exploration was In Our Time. Starting with this film, Taiwanese cinema began to escape from its traditional mode of style and production, a largely escapist cinema. It touched upon the sense of nostalgia throughout travel to childhood and critically explored materialism, solitude, loneliness, and absence of communication that occurred during the process of rapid economic growth in Taiwan. It also dealt with current social problems previously ignored or suppressed in the national cinema; it directly visualised Taiwanese history and identity which had been obscured by the tension between the native Taiwanese and mainland Chinese immigrants. Among others, Hou Hsiao-Hsien and Edward Yang casted countless problems toward Taiwanese identity, probing the modern history of Taiwan. This paper will have a close at the two processes in Taiwan New Cinema and explore its concerns and themes and its shared style.
The beginning of such cinematic exploration was In Our Time. Starting with this film, Taiwanese cinema began to escape from its traditional mode of style and production, a largely escapist cinema. It touched upon the sense of nostalgia throughout travel to childhood and critically explored materialism, solitude, loneliness, and absence of communication that occurred during the process of rapid economic growth in Taiwan. It also dealt with current social problems previously ignored or suppressed in the national cinema; it directly visualised Taiwanese history and identity which had been obscured by the tension between the native Taiwanese and mainland Chinese immigrants. Among others, Hou Hsiao-Hsien and Edward Yang casted countless problems toward Taiwanese identity, probing the modern history of Taiwan. This paper will have a close at the two processes in Taiwan New Cinema and explore its concerns and themes and its shared style.
목차
1. 신전영에 대한 경계 짓기
2. 향토문학논전, 산업화, 정치민주화
3. 과거를 통해 현실을 보고 대만의 정체성을 인식하다
4. 결론
참고문헌
Abstract
참고문헌 (15)
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UCI(KEPA) : I410-ECN-0101-2014-600-000363807