台湾新电影

本文认为，台湾新电影可作为整个台湾社会现代化的缩影。

This author thinks that Taiwanese New Film can be regarded as the epitome of the modernization of the whole society .

这种主题在电影语言上体现出鲜明的美学特征，长镜头与独特的空间营造方式使台湾新电影呈现出强烈的作者电影风格。

The themes embody distinct aesthetic characteristics in the film language . Long - take cinematography and the unique way of space configuration make Taiwanese New Film take on the strong style of auteurism .

从文化意义上讲，台湾新电影具有双重性。

Spoken of the cultural meaning , Taiwan New Film has dual natures .

因此，他的电影是对台湾新电影乃至整个华语电影的一种无声的敲击。

Therefore his movies are the soundless rap on Taiwan New Movie and even all Chinese movies .

作为台湾新电影的代表人物之一，杨德昌电影总是在对于台湾社会现实进行理性的思辨。

As a delegate of new movie in Taiwan , Edward Yang 's films always have being rational dispassion for Taiwan 's society realism .

杨德昌作为台湾新电影运动的领军人物，其敏锐的观察力与深刻的思辨性一直为众人津津乐道。

As a leader of Taiwan New Movie Movement , Edward Yang has always been talked about by the crowd for his keen observation and deep argument .

上世纪八十年代，台湾新电影运动方兴未艾，一群有想法的年轻导演快速成长起来。

In the 1980s , the Taiwan New-Wave movement has been in the ascendant , and a group of young directors with great ideas have grown up fast .

杨德昌是台湾新电影的重要导演之一，其影片深受东西方文化的影响，同时兼具理性与感性，呈现中西结合的思维模式。

Edward Yang , one of the important directors of Taiwan films , is rational and emotional , and always shows thought patterns which are combining Chinese and Western .

文章第一部分采用社会学的分析方法，从政治、经济、文学、电影环境以及创作者的素质等方面来研究台湾新电影出现的原因。

The first part uses the analyzing method of sociology , and it studies on the reasons for the appearance of Taiwanese New Cinema from the aspects of politics , economy , literature , movie environment and quality of the creators .

文章第二部分采用美学和艺术学的分析方法，从题材内容、镜头语言、风格特性、美学特征、主题内涵等方面来论述台湾新电影之所以为新的重要原因。

The second part , using the analyzing method of aesthetics and arts , it explains why the movement is " new " in the aspects of subject content , scene language , style characteristics , aesthetical characteristics and theme connotation .

这是侯孝贤第一次挑战传统武侠片。他在20世纪80年代成名，是台湾新电影运动中的重要人物，他擅长把对台湾人身份认同的多重思考置于该岛20世纪动荡不安的历史背景之中，这是他的影片最为人熟知的特点。

The film represents the first foray into the traditional martial arts genre for Mr. Hou , who first rose to prominence in the 1980s as a key figure in the New Taiwan Cinema movement . He is best known for his layered meditations on Taiwanese identity within the context of the island 's turbulent 20th-century history .

在最后一章中，本文分析了台湾新青春电影的商业成功对大陆青春电影的启示。

The last part analyzes what the mainland youth movie can learn from New Taiwanese Youth movie .

台湾新青春电影以小成本的投入，呈现出一幕幕温暖动人、青春四溢的新鲜影像。

Taiwan New Youth Movies make use of low input , show warming scenes and youth overflowing fresh images .