Writing The History Of Taiwan Feminism Film A Study Of Huang-Yushan

The recovery of Taiwan films was very impressive since the new century, especially, the number of female filmmakers increased very fast. Among them, A director called Huang-Yushan who was active in the2nd Wave of Taiwan new films opened a new way for the female filmmakers, in female film-making, independent producing, founding Film Festivals and other aspects.Huang-Yushan started her career by following the famous director Li Xing. Then she went to New York University for further study. After returning to Taiwan, she taught in Hsin University, Tainan University of the Arts, and made<The Cave Of Desire>,<The Twin Bracelets> and many other female films. She founded "black&white house" movie studio in1988, and started her journey of independent producing. In1993, she sponsored "Taiwan Women Film Art Exhibition" with others. In recent years, she was working on the study of film and television directing, independent producing, female film, documentary, movie reviews and other fields. She had very deep affection and a sense of responsibility to writing the history of women who were as subject and object through films.This paper is divided into four chapters altogether. The first chapter combs the brief history of Taiwan’s women images briefly, describes women’s screen images and the status of women in the film industry respectively in Taiwanese period and new movies period, and introduces Huang-Yushan’ lifetime and her opportunity of contacting with female films. The second chapter analyses Huang-Yushan’s feminist tetralogy:<The Cave Of Desire>,<The Twin Bracelets>、<Peony Birds>、<Spring Cactus>, presents the context of how huang describes women’s growing through films, by comparing contemporary female directors, Sylvia Chang and Siu-Di Wang, highlighted the uniqueness of Huang-Yushan’s movie. The third chapter refines her film’s motif from her movies, such as the female body and Image representation, female labor motif, and the "local" spirit throughout, by analysing two drama films in new century,<The Strait Story> and <The Song of Cha-Tian Mountain>, presents Huang-Yushan’s historical consciousness in films and women writing aspirations. The fourth chapter focuses Huang-Yushan’s other identities besides drama films director including independent filmmaker, documentary author, women film festival organizer, university professor, etc, and shows The character of intellectuals what she sticks to and her social responsibility.