The Center Of Family And The Cityspace

Chinese film has been in a hundred years old. For the sale of celebration, all sorts of activities comes up. Hong Kong and the mainland made each half, but the Taiwan film has popularity deserted. I recall the 1980s era when I am childish, accompanied by the songs of Teresa Teng flying into the mainland, Taiwan television arts landed on the Mainland with fresh flavor .It almost impacted a whole generation of young people who were thinking themselves. But now, due to political and economic problems and the new generation of filmers falling in love with the oversea film market, Taiwan's film is almost on the verge of death. Thought occasionally some star comes out, such as Tsai Ming-Liang, these films are also completely missing the character of strength and enthusiasm. In April last year, Director Edward Yang died in the USA which made us think of the Taiwan film industry surging talented people of the 1980s, ever since then the revolution as a film city on the standard-bearer of Yang began his anger trip. In the past 20 years, Yang made just eight films, but he is always persistent on the development of the people in Taipei and the city itself, as well as the lives of their plight. In my paper, a choice of Edward Yang and his last film "A one and a two" as its theme, is because not only admiration in the artistic charm of the film itself, but also in memory of the great film director Edward Yan and Taiwan films that commemorate the past era.In this paper, I chose themes from two traditional perspectives including the film structure and the arts idea. "A one and a two" sets all life of Yang to his works. Part 1 focuses on the family as the center to the text of construction, expressing his disappointment and hopes through the forms of social organization subtle insight. By the more clues from the next-narrative (Part 2), we can see clearly the richness of the city space from sound art and picture perspective portrayed in the film. Ways to study is target analysis of the film itself, supplemented by horizontal and vertical contemporary with Director Hou Hsiao-Hsian and Tsai Ming-Liang's comparison. In this article, I holds that the film not only lays Yang's position of the International Film Master also sets with the contents of breadth and depth exploration of the arts, regardless of their relation to Yang works with the directors or with the younger generation and their works.