Research On Ann Hui’s Film

Ann Hui as a leader of the Hong Kong New Wave, the formalinnovations of her film language is impressive in the New WavePeriod, with the attendant she cut a striking figure in HongKong and the international film made by recognition and praise.In the subsequent long creation, Ann Hui from the film in theform of innovation to dig deeper into the content, and graduallyreach innocence and achieve master of the realm. There is aconstant theme of the movie in her creation. She use of filmlanguage and narrative mode has its own unique style, but alsoinstilled among the characters shaped by their own lifeexperience and values give all, therefore, she is well-deservedan author of the film. life. Second, the rootless wandering awareness is mainlyreflected in two aspects: one part is overseas people, isparticularly concerned about the wandering life of theVietnamese in the early works; on the other hand to show thatIntroduction introduce upbringing and educationalbackground of Ann Hui, in order to review of her achievementsand her position in the film industry. Also summary currentresearch of Ann Hui and in order to clarify the core task andinnovative point of this paper.The first chapter "subject of the films", there are threespecific awareness in Ann Hui’s creation: a keen politicalawareness. Especially in her early works, she often associatedthe fate of the characters with the political context. Hersympathy and humanitarian care to the individual. And in thelate works, she gradually dilute the grand political narrativebackground, instead of focused on personal select therelationship with the different conditions of the individual life. Second, the rootless wandering awareness is mainlyreflected in two aspects: one part is overseas people, isparticularly concerned about the wandering life of theVietnamese in the early works; on the other hand to show thatthe people of Hong Kong before and after the handover in1997,most of people lack of security spirit and soul wandering state.Third, the identity of the individual to find awareness. It ismainly reflected in the individual looking for self andcultural identity. The three main themes in the layers, anddeeper into the logical relationship.The second chapter is the "image of women in the film", AnnHui often narrating subject on women. Her women image is notstatic, but in a dynamic process of evolution. This chapter willbe divided into two parts: In her early works, Ann Hui by thepatriarchal society of mainstream culture, shaping in thesubordinate position of women. With her creative ideas matured in the mid-and late works to shape a new image of womenself-awareness.Chapter III "film language", the main reflection from themovie language of scene, color and sound aspects of the worksof Ann Hui, such as "Boat People","The Story of Woo Viet","Summer Snow","July Rhapsody","The Way We Are","Thepostmodern Life of My Aunt", summed up her style of creation.The fourth chapter "film’s narrative structure", the useof narrative theory combined with the "July Rhapsody","Starryis the Night","Goddess of Mercy",“Night and Fog" movie, summedup in her work frequently use of both narrative structure, Aloop-type structure of the cover layer; another for infix fitmass structure. Thus formation of a certain style in thenarrative mode.The conclusion section point out, Ann Hui is not just a filmauthor, she was the one filmmakers always adhere toself-expression, after many years of experience,Ann Hui with the facts to proved to us that the film art can get a balancebetween commercial. Her creative model for the later one candraw on the road.