The Marriage Of Literature And Film

The names of Hou Xiaoxian and Zhu Tianwen should be mentioned in the rising Taiwanese new movies in the end of21th century. As representatives in Taiwan’s cultural scene, these two have been working corporately for over20year, either in movies or literatures. This has been considered as a notably new phenomenon. Hou is commented as a director with literary temperament. From the slow-paced narrative and desalination of the story, the sense of desolation of life is expressed from his works, which is very rare in the movie medium. However, the spiritual and internal forces from this bring out very deep appeal.Quite similar to Hou, Zhu’s own aesthetic concepts and ideas were integrated in each of their movie works. Zhu’s work placed a great effect on the directors in the whole filming industry.After they start cooperating on the movie, The Story of Xiaobi, in the year of1981, zhu’s novel, for example,"Ann’s holiday","daughter of the Nile","childhood"were adapted into films that won awards at home and abroad. Besides, in the long-term cooperation, Zhu took part in the creation of almost every Hou’s movie works, for example,"Best time","Flowers of Shanghai","City of Sadness","Dust in the Wind" It’s not hard to find out that, although coming from various backgrounds, these two could be working for a long time as a result of the same pursuit of artistic creation and taste, which established the marriage of the filming and literature. The phenomenon discussed above is the object of this study. The methodology of this study is to analyze specific image and text data, as well as relevant theoretical writings and materials.In the introduction of this paper, the special case of the marriage of filming and literature, Hou and Zhu’s long-term cooperation, and its significance are discussed.In first chapter, the double cultural identities, filming and literature, of Hou and Zhu, are discussed through the phenomenon of their long-term cooperation. Hou’s literary temperament works make her become a writing-director, while Zhu is criticized as a filming-writer, which was influenced by her similarity to Hou’s aesthetic values, her guider Hu Lancheng, as well as the famous writer, Zhang Ailing. Then, in the second chapter, the performance of Hou and Zhu’s cooperative artistic working is discussed in the upper and lower sections:the upper section is divided into three parts,’Slow-common rhythm’,’social marginal individuals-common perspective’and’desolate-common mood’.Both Hou’s movies and Zhu’novel share the same artistic features. The lower section is divided into two parts:the dilution of the story and the tendency of the prose narrative. This is considered as the common artistic performance of Hou and Zhu’s works. Through the artistic representation of Hou and Zhu’s cooperation, the possibility of’Coincide’of filming and literature was established. These factors, like’Slow-paced narrative’,’the prose narrative tendency’are suitable for filming. The internal connections between Hou and Zhu’s artistic works are discussed in chapter2, while in chapter3the external factors are discussed. It is considered that they were working together as they were both considered as "Mainlanders". The filming works they were working on had a more significant sentiment of Taiwan; however, the mainland-complex was also performed. They are both immigrants from the mainland, and their parent generations’mixing mood of the mainland and the traditional education had placed great impact their movie works. Secondly, both Hou and Zhu preferred to the’social marginal role’. In Hou’s masterpiece The "City of Sadness","counter the wind","completion of the story",he mentality of small people, who drift around the margin of the society, was described. Besides, Zhu’s master piece,,"Notes of a Desolate Man"tells gay’s story.As the descendants of the immigrants from the mainland, Hou and Zhu, grew up in Taiwan, which was filled with complex historical, political and cultural backgrounds. The in-depth perspective and focus of Chinese traditional culture made their creation work separated from Taiwan’s mainstream culture, as commented bu Zhu Tianwen,’Provide another movie a living space’.Although different in artistic forms and medium, filming and literature achieved the artistic’coincide’under the cooperation of Hou and Zhu, which will be far more explored in this paper.