TTLV: Characteristics of New Taiwanese Cinema as Seen Through Hou Hsiao-Hsien's Films

1. Student's full name: Nguyen Tuyet Ngan 2. Gender: Female

3. Date of birth: August 28, 1995

4. Place of birth: Hanoi

5. Decision No. 1765/2018/QD-XHNV dated June 28, 2018, of the Rector of the University of Social Sciences and Humanities, Vietnam National University, Hanoi, recognizing the student.

6. Changes in the training process(Note the types of changes and the corresponding times): Are not

7. Thesis Title: Characteristics of New Taiwanese Cinema through the Films of Hou Hsiao-Hsien

8. Major: Theory and history of film and television; Code: 8210232.01

9. Scientific supervisor: Dr. Dieu Lan Phuong, Faculty of Literature, University of Social Sciences and Humanities

(Please specify your scientific title, academic degree, full name, and workplace.)

10. Summary of the thesis results:

(Summarize the results of the thesis, emphasizing any new findings.)

New Taiwanese cinema, as has been demonstrated, has formed and developed in many diverse and complex directions, thus its nature transcends the boundaries of a mere film movement.New Taiwanese cinema is a clear result of the multifaceted changes in Taiwan, from politics, economics, society, and culture to the entire film industry system, during the 1970s and 1980s.New Taiwanese cinema would be difficult to emerge without political change and shifts in thinking towards Taiwanization and democratization. Economic development serves as a stepping stone for the formation and development of the supply and demand for new cinema. Historical and cultural relationships, along with new cultural movements in Taiwan, contribute to shaping the face of new cinema. And a film system with all its actors—the influence of the state, competition with foreign films, the role of state-owned film studios, audience support or opposition, the system of critics, film festivals, and finally, filmmakers—the interplay of all these elements creates a multifaceted dynamic, a "contradiction leading to development."

The emergence of New Taiwanese cinema holds significant symbolic meaning in both culture and politics. Internally, New Cinema represents a realization of cultural autonomy and a political breakthrough, aligning with the cultural aspirations and subjective consciousness of the Taiwanese public. Externally, New Cinema, with its internationally recognized, humanistic language, has become an understanding of Taiwanese society outside the island. The cinematic lens has opened up people's imaginations about Taiwanese society with its unique form of political power. On the one hand, the films reflect the shared, universal experiences of society; on the other hand, they embody individual experiences and express the psychology and aspirations of each individual within society.

New cinema is also a proud milestone for Taiwanese cinema thanks to its innovations and breakthroughs in technique, style, content, and ideology. With Hou Hsiao-Hsien and his three outstanding films as prime examples, we see how changes from real life have shaped works of art, and how a true artist can apply this to create art. The humanist spirit and profound awareness of his homeland and the people of Taiwan are expressed in both form and content in Hou Hsiao-Hsien's films.

The realistic style, deeply personal and balancing subjectivity and objectivity, is skillfully and subtly interwoven through the language of cinema: narrative, sound, editing, and genre. These technical elements are not merely decorative, but play a crucial role in conveying the author's ideas and sentiments. These include feelings, thoughts, and understanding of Taiwan and its people; a retelling of a painful history; and a multifaceted and diverse perspective on Taiwan.

Like other art forms, the seventh art (cinema) makes a significant contribution to the development of a territory, not only because it can reflect contemporary society, but also because of its potential to shape the image and culture of that place. Understanding and analyzing a cinematic, cultural, and political phenomenon like Taiwanese New Cinema requires a comprehensive and multifaceted perspective. Based on the research presented, this thesis hopes to open up valuable issues and insights, not only to correctly view film as an art form, but also to see cinema as an element that can change how we think about the world and help make people's lives better and more humane.

11. Practical applications: (if any)

This is the first foundational academic study on Taiwanese cinema (specifically the 1980s) in Vietnam.

12. Future research directions: (if any)

- A comparative study with Vietnamese cinema

- A comparative study with mainland Chinese cinema

13. Published works related to the thesis:

(List the works in chronological order if available)

INFORMATION ON MASTER'S THESIS

1. Full name: Nguyen Tuyet Ngan 2. Sex: Female

3. Date of birth: August 28, 1995 4. Place of birth: Hanoi.

5. Admission decision number: 1765/2018/QD-XHNV Date June 28, 2018.

6. Changes in academic process: None

(List the forms of change and corresponding times)

7. Official thesis title: The characteristics of Taiwanese New Cinema through the films of Hou Hsiao Hsien

8. Major: Theory, History, and Criticism of Film and Television

9. Code: 8210232.01

10. Supervisors: Dieu Lan Phuong, PhD, Faculty of Literature.

(Full name, academic title and degree)

11. Summary of the findings of the thesis:

(Summarize them with stress on thenew sensations, if any)

As Taiwanese new cinema was shaping and growing from different complex factors, it did not limit itself from being just a cinema movement.Taiwanese new cinema is the result of a profound change that was taking place in Taiwan at the 70s and 80s. It would rather hard for Taiwanese new cinema to have happened without an evolution in political background as well as the transition in ideology towards democracy. Economic development is also the stepping stone that gave Taiwanese new cinema a required backdrop for its advancement. Cultural and social tensions made Taiwanese new cinema to be what it turned out to be. And last but not least, in the whole picture of Taiwanese film industry, including the role of management's policies, film industries competition, investments of party-owned film companies, audience reception, film festivals, film makers – all had itself contributed to creating a dynamic sensation that kept pushing for new grounds.

Taiwanese new cinema can be seen as symbolic in terms of politics and culture. Internally, it is the realization of cultural autonomy and revolutionary political moves which was aligned with Taiwanese subjective consciousness. Externally, it has given Taiwan outsiders new understanding of the island thanks to the universal language of cinema. It was cinema that helped create an imagination of Taiwan with an unique political power. On one hand, the films reflect the common experience, on the other hand, it is the manifestation of personal experience and showing the psyche – aspiration side.

The new cinema is also a celebrated milestone for Taiwan due to its ground-breaking sense of style, technique and ideology. With Hou Hsiao Hsien (and his films) being the representative of the movement, we can see how current changes can shape art pieces, and how a real artist can make use of all of the changes to create art. The humane spirit and local consciousness had been demonstrated in two aspects: form and content

Realism style that highlights personal experience, balancing between subjective and objective view was cleverly, prepared through different film grammars: narrative, sound, editing, genre. These technical factors weren't used just for the sake of style, it played an important role in delivering the director's thoughts and desires, which was his sense of Taiwan as a hometown and the meaning of being Taiwanese; his way of re-writing Taiwanese past; and his view on a hybrid culture and society.

Like other art forms, the seventh art also contributes greatly into the development of a nation or a territory, not only because it can be a reflection of the contemporary society, but also thanks to its potential to create a new image, a new culture for such place. To analyze and to interpret a cinematic, cultural and political phenomenon that is Taiwanese new cinema requires comprehensive understanding and perspectives. Hopefully, the thesis' research can lead up to new knowledge that sees film not only as a true form of art but also an influence that may change world view and create a more sympathetic, gracious and beautiful life.

12. Practical applicability, if any: The first foundation study on Taiwanese cinema (in the era of the 80s in particular) in Vietnam

13. Further research directions, if any:

- Comparative study with Vietnamese Cinema

- Comparative study Chinese (mainland) cinema

14. Thesis-related publications:(List them in chronological order)