허우 샤오시엔 영화에서의 시간 -질 들뢰즈(G. Deleuze)의 시간 개념을 중심으로-

Abstract

The origins of the Taiwanese are very diverse. The island was then occupied by the Dutch, the Japanese and the Kuomintang government. In the 1950s, Taiwan is not concerned with politics, there was no relationship between cinema and society. It was in the 1970s that artists have begun to talk about the reality of their country. But this time, the film was commercial and was not interested in reality. It was not until the 1980s and the emergence of the French new wave films that evoke the problems of ordinary people. At that time, Hou Hsiao Hsien was the representative of Taiwanese new wave cinema(1982–1990). His film was delayed compared to the literature. Since 1983, one of Taiwan's most prominent writers, Chu Tien-wen has been Hou Hsiao-hsien's most faithful creative partner. In 1980s, the subject matters of Hou Hsiao-hsien's films is the family, friends, society and everyday life. But internal subjects are different. He follows the definition of modernism related to concepts of the cinematic time. To achieve this, his films approach the representation of history as the concept of singularity in Gilles Deleuze's theory. As Deleuze suggests, the present is situated in relation to past and future. Hsiao-hsien gives careful consideration of the Taiwanese history involved. However the subject of thinking is not for a director but for each audience. This study opposes that Hou Hsiao-hsien's films are over-analyzed for historical ideology. Modern progressivism ideology and notion of the linear time collapse in his cinema. In 6 examples, A City Of Sadness(1989), The Puppetmaster(1993), Good Men Good Women(1995), Flowers Of Shanghai(1998), Millennium Mambo(2001), Flight of the Red Balloon(2007), this paper analyzes the concepts of the Hou Hsiao-hsien's cinematic time.