Taiwanese film directors who called themselves “Taiwan new cinema directors” have make a lot attempt to film new kind of movie that differ from political correct films in 1970’s . Edward Yang is the most representative directors in this time . In his film, we can experience the characteristic of Taiwanese living life style in 60’s to 90’s .”Reality” of the time is the main method to make the movie much closer to the real world .He also made use of many new filming technics , such as Long-Shots,Vertical-movement Shots ,and handheld-Shots, to create a new sort of spacial experience that let audience be able to feel the mental “truth” in the film. In my thesis , I will analysis the ”Truth” and”Reality” of Taiwanese residential space and living culture in Edward Yang’s films, than use the code that represent the spirit of his film to create a way to design a 21st century residential space for Taiwanese mid-class youngsters .
Keyword: Edward Yang , Reality , truth , film , code , mental , residential space design
The evolution of Taiwanese film has been through a long way .From Japanese colonial period to Asian tiger period , there are a lot of films can represent the culture and urban life style of a specific era .In particular, in the 1980s, a group of young people who claimed to be New Cinema directors began to conceive a way that were different from the political films of the past. Edward Yang was one of the most important leaders of the time .In this master’s thesis, I chose three of the most representative films of Edward Yang , including A Brighter Summer Day , Terrorizer ,and Yi Yi for my analysis and finding further possibility of architecture design.
MATERIALS AND METHODS
In the beginning of my thesis , I selected some captured clips in the three films trying to find the relationship between the residential space in the image and the movie script. From the relationship I found I try to establish a concept of the connections between the space and characteristics of roles. From the study above, I try to figure out the evolution of the residential space and how the director borrows the space character to express the life of the story. The end product is the “Reality” of the film ; In the second face of my analysis, I trying to map out a mental stage of those three films. I chose seven sections of those films which resemble a specific state of mind of the characters. From this analysis , I hope to construct a spacial relation between the stage set and characters. The result is the “Truth” of the film. In the last face of my analysis, I compared the change in space and state of mind of those three films and trying to find a plausible sequence of “Reality” and “Truth” in those films. Finally, I use the result of my analysis to design a residential pace that echoes the spirit of Edward Yang’s film.
RESULTS AND DISCUSSION
The final residential space design is a rooftop additional house that is widely seen in Taiwanese cities. The main role of the house is Yang-Yang who is the child from movie Yi Yi and officially consider as Edward Yang’s avatar in the film. I set the time in 2020 when Yang-Yang is 30 years old in order to create the imagination of future Taiwanese residential space. From the view of Yang-Yang , avatar of Edward Yang, I create a set of space that using the “Reality” and “Truth” I found in Edward Yang’s film. Finally, my design hope to pay tribute to Edward Yang’s film.
The main purpose of this thesis is to find the design possibility of residential space from Edward Yang’s film .From the result of my design I want to answer a big question of how youngster live and feel in 21st century when life is hard but colorful .In the result I found out that the method I use can be adopt to any image or any footage . Not only anyone who like Edward Yang’s film can use my method to design a space that tribute to Edward Yang , But also anyone who want to create a way to design space from any image can use my method as a starter.