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Taiwan New Cinema
Taiwan New Cinema (also known as New Taiwanese Cinema or the Taiwan New Wave) was a film reform movement initiated by young Taiwanese filmmakers and directors which took place from 1982 to 1987. Taiwan New Cinema films primarily showcase a realistic style with their depictions of subject matter close to the social reality, offering a retrospective look into the lives of the common people. Taiwan New Cinema brought about a new chapter for the cinema of Taiwan with its innovative form and unique style. History Before Taiwan New Cinema Political propaganda (1945–1960) On August 15, 1945, Taiwan was liberated from Japanese rule after Japan unconditionally surrendered. The Republic of China's Nationalist government took over Taiwan and abolished the Japanization implemented by the Japanese rule, including the Japanization of spoken languages in Taiwan. The Nationalist government started the promotion of Mandarin. In 1949, the Chinese Civil War between the Nationalist Party (Ku ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cinema Of Taiwan
The cinema of Taiwan or Taiwan cinema ( zh, t=臺灣電影 or ) is deeply rooted in the island's History of Taiwan, unique history. Since its introduction to Taiwan in 1901 under Taiwan under Japanese rule, Japanese rule, cinema has developed in Taiwan under ROC rule through several distinct stages, including ''taiyu pian'' (Taiwanese film) of the 1950s and 1960s, genre films of the 1960s and 1970s, including ''jiankang xieshi pian'' (healthy realist film), ''wuxia pian'' (sword-fighting film), ''aiqing wenyi pian'' (literary romantic film), ''zhengxuan pian'' (political propaganda film), and ''shehui xieshi pian'' (social realist film), Taiwan New Cinema of the 1980s, and the new wave of the 1990s and afterwards. Starting in the second decade of the new millennium, documentary films also became a representative part of Taiwan cinema. Characteristics Taiwanese directors Taiwan cinema is internationally known for its representative directors, including Fong Chiung, King Hu, Ho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Industrial Society
In sociology, an industrial society is a society driven by the use of technology and machinery to enable mass production, supporting a large population with a high capacity for division of labour. Such a structure developed in the Western world in the period of time following the Industrial Revolution, and replaced the agrarian societies of the pre-modern, pre-industrial age. Industrial societies are generally mass societies, and may be succeeded by an information society. They are often contrasted with traditional societies.S. Langlois, Traditions: Social, In: Neil J. Smelser and Paul B. Baltes, Editor(s)-in-Chief, ''International Encyclopedia of the Social & Behavioral Sciences'', Pergamon, Oxford, 2001, pages 15829-15833, , Online/ref> Industrial societies use external energy sources, such as fossil fuels, to increase the rate and scale of production. The production of food is shifted to large commercial farms where the products of industry, such as combine harvesters ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chen Kun-hou
Chen Kun-hou (陳坤厚) is a veteran cinematographer, who started his career in the 1960s. He won his first best cinematography award at Golden Horse Awards in 1978 for ''He Never Gives Up'' (汪洋中的一條船), directed by Lee Hsing (李行). In the early 1980s he began to direct his own films in collaboration with Hou Hsiao-hsien (侯孝賢). After series of urban comedies, he made quite a few representative films of the Taiwan New Cinema, such as '' Growing Up'' (小畢的故事; 1983), which won him the best director award at the Golden Horse Awards, ''His Matramony'' (結婚; 1985), which won him the second best cinematography award at Golden Horse Awards, and ''My Favorite Season'' (最想念的季節; 1985), and '' Osmanthus Alley'' (桂花巷; 1987). He is awarded for his life achievement in Taiwan cinema at the 60th Golden Horse Awards in 2023. Career Chen Kun-hou was born in Taichung in 1939. He was enrolled in Central Motion Picture Corporation (CMPC; 中央電� ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
In Our Time (1982 Film)
''In Our Time'' ( zh, 光陰的故事) is a 1982 Taiwanese anthology film directed by Edward Yang, Yi Chang, Ko I-Chen and Tao Te-Chen. Each set in a different decade between 1950 and 1980. The vignettes explore various themes and genres, including drama, comedy, economics, and society, and showcase characters at different stages in their lives. Style The film is divided into four segments that differ in terms of theme, tone, and style. The first two episodes are more reflective and dreamlike, whereas the latter two episodes have more dialogue and overt comedy. Tao's "Dinosaurs" or "Little Dragon Head" segment tells the story of a young boy who creates a fantasy world populated by his dinosaur toys to escape from parental neglect and social rejection. Yang's "Expectations" or "Desires" episode follows a teenage girl who develops feelings for an older man staying at her house, leading to a love triangle. In Ko's "Leapfrog" segment, a college student tries to cope with the pressur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anthology Film
An anthology film (also known as an omnibus film or a portmanteau film) is a single film consisting of three or more shorter films, each complete in itself and distinguished from the other, though frequently tied together by a single theme, premise, or author. Sometimes each one is directed by a different director or written by a different author, or may even have been made at different times or in different countries. Anthology films are distinguished from " revue films" such as '' Paramount on Parade'' (1930)—which were common in Hollywood in the early decades of sound film, composite films, and compilation films. Anthology films are often mistaken with hyperlink cinema. Hyperlink cinema shows parts of many stories throughout a film, whereas anthology films show story segments of one at a time. Some mistaken examples include ''Pulp Fiction'' (1994) and '' Amores Perros'' (2000), distributing their storylines non-chronologically, separated by segments. Films *''Intolerance' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Edward Yang
Edward Yang (; November 6, 1947 – June 29, 2007) was a Taiwanese and American filmmaker. He rose to prominence as a pioneer in the Taiwanese New Wave of the 1980s, alongside fellow auteurs Hou Hsiao-hsien and Tsai Ming-liang. Yang was regarded as one of the greatest filmmakers of Taiwanese cinema. He won the Best Director Award at Cannes for his 2000 film '' Yi Yi''. Youth and early career Yang was born in Shanghai in 1947, and grew up in Taipei, Taiwan. After studying electrical engineering in National Chiao Tung University (located in Hsinchu, Taiwan), where he received his bachelor's degree ( BSEE), he enrolled in the graduate program at the University of Florida, where he received his master's degree in electrical engineering in 1974.''International Dictionary of Films and Filmmakers''. Eds. Sara Pendergast and Tom Pendergast. Vol. 2: Directors. 4th ed. Detroit: St. James Press, 2001. p1092-1094. 4 vols. "Edward Yang" accessed through Thomson Gale's Biography Resear ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wu Nien-jen
Wu Nien-jen (; born ; 5 August 1952) is a Taiwanese screenwriter, director, and writer. He is one of the most prolific and highly regarded scriptwriters in Taiwan and a leading member of the New Taiwanese Cinema, although he has also acted in a number of films. He starred in Edward Yang's 2000 film ''Yi Yi''. Wu is a well-known supporter of the Democratic Progressive Party and has filmed commercials for the party. Early and personal life Wu was born into a coal miner's family in 1952 and raised in the mining town of Jiufen. He went into the army after high school, and after being discharged in 1976, went to work at a library while pursuing a degree in accounting at the Fu Jen Catholic University night school. He started writing short stories for newspapers in 1975, when he was still an accounting major. After penning his first screenplay in 1978, Wu entered Central Motion Picture Corporation as a creative supervisor and worked with several leading Taiwanese New Wave directors su ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hsiao Yeh
Li Yuan (; born 31 October 1951), also known by his pen name Hsiao Yeh (), is a Taiwanese novelist, screenwriter and politician who is the minister of Culture since 2024. Early life and education Li's family is of Hakka descent and originates from Wuping County, moving to Taiwan in 1949. Li Yuan was born in Monga, Taipei, on 31 October 1951. His father was a statistician and his mother taught writing at National Taiwan Normal University (NTNU), later becoming a journalist. Li's father gave his eldest son the pen name Hsiao Yeh, and both parents encouraged him to write. Li read classics such as ''War and Peace'' and ''The Old Man and the Sea'' at the age of 11, at the behest of his father and was forced to write reports on them afterward, though Li preferred to draw cartoons and perform plays instead. After studying biology at NTNU, Li earned a graduate degree in microbiology from the State University of New York at Buffalo in the United States. Upon his return to Taiwan, Li be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Government Information Office
The Government Information Office, Executive Yuan (GIO; ) was a cabinet-level agency of the Executive Yuan of Taiwan, Taiwan (the Republic of China) in charge of promoting government policies and regulating media in Taiwan, domestic media. History In April 1947, the Republic of China government completed all preparations for the implementation of constitutional rule and made the transition from the stage of political suzerainty to that of constitutional government. All ministries, commissions and councils under the Executive Yuan were expanded, and on 23 April, the Executive Yuan created the Government Information Office and agencies for health, irrigation and land affairs. The GIO was formally inaugurated in Nanjing on 2 May 1947, and the Department of International Publicity, originally under the Ministry of Information of the Kuomintang, was placed under it. On 21 March 1949, then President of the Republic of China, President Chiang Kai-shek promulgated the revision of Article ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ming Ji
Ming Ji (; 24 January 1923 – 15 June 2012) was a Taiwanese film director. As the general manager of the Central Motion Picture Corporation, Ming worked extensively with many prominent Taiwanese New Wave directors such as Hsiao Yeh, Hou Hsiao-hsien, Wu Nien-jen and Edward Yang. Ming received the Golden Horse Award for lifetime achievement in 2009. He died of organ failure at Tri-Service General Hospital The Tri-Service General Hospital (TSGH; ) is a medical center in Neihu District, Taipei, Taiwan. It is the teaching hospital of the National Defense Medical Center National Defense Medical Center (NDMC; ) is a ROC military affiliated medica ... on 15 June 2012, at the age of 89. References External links * * 1923 births 2012 deaths Taiwanese film directors {{Taiwan-film-director-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cinema Of Hong Kong
The cinema of Hong Kong ( zh, t=香港電影) is one of the three major threads in the history of Chinese-language cinema, alongside the cinema of China and the cinema of Taiwan. As a former Crown colony, Hong Kong had a greater degree of artistic freedom than mainland China and Taiwan, and developed into a filmmaking hub for the Chinese-speaking world (including its worldwide diaspora). For decades, Hong Kong was the third largest motion picture industry in the world following US cinema and Indian cinema, and the second largest exporter. Despite an industry crisis starting in the mid-1990s and Hong Kong's transfer to Chinese sovereignty in July 1997, Hong Kong film has retained much of its distinctive identity and continues to play a prominent part on the world cinema stage. In the West, Hong Kong's vigorous pop cinema (especially Hong Kong action cinema) has long had a strong cult following, which is now a part of the cultural mainstream, widely available and imitated. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
American Film
The cinema of the United States, primarily associated with major film studios collectively referred to as Hollywood, has significantly influenced the global film industry since the early 20th century. Classical Hollywood cinema, a filmmaking style developed in the 1910s, continues to shape many American films today. While French filmmakers Auguste and Louis Lumière are often credited with modern cinema's origins, American filmmaking quickly rose to global dominance. As of 2017, more than 600 English-language films were released annually in the U.S., making it the fourth-largest producer of films, trailing only India, Japan, and China. Although the United Kingdom, Canada, Australia, and New Zealand also produce English-language films, they are not directly part of the Hollywood system. Due to this global reach, Hollywood is frequently regarded as a transnational cinema with some films released in multiple language versions, such as Spanish and French. Contemporary Hollywood ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
