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On the Ontology of Taiwanese Films in the Post Declare Martial Law Ended Period
QI Gang
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DOI:10.17265/2159-5836/2024.11.013
School of Chinese Language and Culture, Zhejiang International Studies University, 310023, Hangzhou, Zhejiang, China
In addition to describing the social reality of Taiwan’s political and economic chaos, Taiwan’s films after the lifting of martial law also try to explore the ultimate significance of human existence, showing the color of ontology. Under the influence of postmodern culture, Taiwan films adopt non-linear narrative methods such as fragmented, time countercurrent or psychological time, emphasizing people’s instant experience and expressing modern people’s anxiety and social absurdity. In addition, the film highlights the gridding and deformed space, so as to highlight the interpersonal alienation and survival dilemma of modern cities. Taiwanese films also reflect the impermanence of fate, the nothingness of existence, and the absurdity of society through the death of characters. It is also coupled with the existential view of “living to death” and “others are hell”.
lifting martial law, Taiwan film, time, space, death
Journal of Literature and Art Studies, November 2024, Vol. 14, No. 11, 1056-1062
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