现在的我，好想起床然后找一个合适的地方给我练习，可是我的背部感觉不大舒服，所以我一直在床上躺着，我在想，也许southgate是一个值得我去的地方，或许吃一顿中餐能使我的精神振奋起来，不管怎样，我还是得拜托目前这种在床上躺着什么都干不了的状态，我得振奋起来。可是振奋的方法又是什么呢？包括喝酒？包括喝咖啡，包括在外面流连，反正到了这最后的关头，我也好想放手一搏啊，谁想一辈子总是慢慢吞吞地停留在同一个圆圈里面打转呢？谁想总是有一搭没一搭每天都过着同样的生活呢？我这种生活没什么错误，但是也谈不上特别开心，因为经常感觉自己是停留在同一个点上，进步的驱动力和动力很小。有的时候驱动力是足够的，但是由于一些精神上的因素，动力又很小。The opposite of depression is vitality.
In Kuei-mei, a woman, the leading character Kuei-mei is disappointed with her husband's behavior and finally decides to own her very own business. They three represent the gender awareness of Taiwanese woman. The third reason why I choose these three films is that they has some similarities in terms of form. Compared with the earlier films, there are uses of voice-over in the three films. By using this kind of technique, the audience could view how women actually think, what's inside their mind. So the three generally sum up why I choose these films: formal similarity, strong figures of women; new wave period.
Why do I choose these three films in particular? There are three reasons why I choose them: First, they are all made during the 1980s, when the new cinema influences the overall scale of Taiwan cinema; Second, the three leading figures in these three films represents the new characters as Taipei women. In That Day, On the Beach, the leading figure Jia-li runs out of family and married the man she loves, but there are serious problems exsits in their marriage. Finally, the husband is missing, and the wife choose to be an independent woman and pursue her career. In My Favourite Season, the leading figure Xiang-mei is an independent woman who persue her career in a firm way;
In terms of methology, I combined the use of formal analysis and culture studies. Basically, during the formal analysis, I examined the object/setting motifs, and find out the binary opposition in the text. By examining the motifs and binary opposition, I found out how the film directors represent the women's images. And by examing the voice-over, I found out how the women want to say about themselves. And this is basically the methodology I adopt in my thesis, and I don't know what else to say about the methodology part.
好，另外一个四分钟开始了。我需要专注在我必须要做的事情桑，这样子会比较有满足感。做完这个时间，还有最后一个时间了，所以不要害怕，我接下来的任务是什么呢？我接下来的任务是做出第二个四分之一。上一个四分之一是关于introduction的，关于literature review的，那么这个四分之一则是关于methodology的，把chapter一，二，三都介绍到，那么最后一部分就是关于conclusion和thank you的。所以现在的中心任务就是把methodology部分的给写出来，然后接下来的conclusion 和thank you 在外面写。
During my literature review, I researches in three directions generally. The first one, is about the readings of Taiwanese New Cinema. Ho w is it new, what differences have the film directors made. So I took opinions from Douglas Kellner on the leading features of New Cinema, the relationship between literature and Taiwanese New Cinema, and look at the new cinema in terms of cultural and political perspective. The second direction is from gender perspective, so I read ??? for the gender changes in the new cinema period. Surprisingly, I found few people focuses specifically on the role of women during this particular moment.
But after new wave, film directors starts to use film as a new tool, they starts to think about women's image as they are. Women need to face the challenge of modernity, they could not only function their role as mother, as wife, they also need to persue their independence and personal career. So what I've trying to stress is here. First, the role of film has changed; Second, the role of women has also been changed. So generally, this is the background, but as I said, my focus is on how this changes occur, what are these changes. In order to find out the answer to my question, I did a literature review with the genuine help of Professor Lin.
The several features include: 1. They tend to focus on insignificant event in daily life, for example, Edward Yang's film The Sandwiches Man and ???(who is the other director?) 2. They tend to use new techniques, like long shot, and jump cut ???(am I right) to show the content. There are many new features being used in the new wave period, and the rich content and significant impact on the overall Taiwan cinema cannot be ignored. The second background is that the image of women is greatly changed during the new wave period. In the past, films are used as a propaganda tool
When I got suggestions and advice from my supervisor Professor Lin, I found this topic is worthy of my attention, and I could utilize what I've learnt in these years. Second, how are these women portrayed in Taiwan Cinema? It's a question worthy of attention since Taiwan has rich history. The 1980s is the so-called "new wave" period of Taiwan cinema, although some scholars like Douglas Kellner may be against the word "new wave". During this particular period, many film directors tend to shift their focus from traditional model to modern model. The several feature of
My central focus is on the image of Taipei women in the 1980s. There are a few questions I need to address here: How are women imaged and portrayed in the 1980s cinema? and why are they protrayed like that? Is there any cultural reasons or political reasons? So basically, that's what I'm concerned about. After seeing my research topic, you may wonder why I want to choose this particular subject? There are generally three reasons: 1. It's draws my interest. Last year, I was doing researches on Jia Zhangke's films, however, I found it very difficult to find materials to support my argument. Finally, I feel incapable of doing that.