Reading Response Eight

Bordwell

1. Both scenes deal with staging characters in crucial plot situations around meals using long lenses. In the scene with the intellectuals, the main characters are brightly lit in the center of the frame. The supporting cast is arranged in the shadows on the outside so that they frame up the main characters. Similarly, the main characters in the other scene are highlighted by the use of lighting and the framing of the supporting characters. Both scenes take place in tight spaces, but a window is opened up in the first one to allow for the inclusion of the rest of the nation, while the second involves gang activity that must be kept behind closed doors.

2. Hou uses deliberate constraints in Flowers of Shanghai by filming only in the brothel quarters. Anything happening outside of this location is only talked about. Every scene but one consists of only one shot which can make it much more difficult to stage, light and film. Hou says he does this because the story was derived fr
om a diary, and it makes if feel more natural for it to be filmed this way.

Willeman

1. He believes that just because something is complex does not mean that it is good. There is plenty of really bad work that is complex and full of interesting material if you pay attention to it enough.

2. He seems that think that Hou's films do not give Taiwan more of an identity that any other films made in and about Taiwan. There is too much importance placed on Hou giving Taiwan a "voice", when in actuality there is no way for an outsider to understand much of what is occurring in the films without any extra research.

3. He doesn't like the idea that he should appreciate Hou's work because others claim that he should. He doesn't like seeing films with a preconceived notion but would rather go into it with an open mind so that he can make his own opinions.

4. Hou is looking for answers as to how the past, both in a historical and personal context, influence present day and future Taiwan.

5. Hou uses Chinese aesthetics in his films which he rightfully should. The issue is not his use of these aesthetics but more about how he uses them to create his own style.

Reading Response Seven

1. After WWII, China took back control of Taiwan from the Japanese. Since Japan had controlled Taiwan for 50 years, there was a large social gap between the Chinese and Taiwanese, especially in regards to the language. The Chinese Nationalist government was very authoritarian and deprived native Taiwanese any share of political power. After a woman was caught smuggling cigarettes by government tobacco monopolists, a group of police officers beat her. The following day, February 28th, riots started breaking out all over the island but were eventually put to a stop. The army began arresting and executing people that they thought might be able to continuing the rebellion. A report released 45 years after the incident estimates that between 18,000 and 28,000 people were killed.

2. Certain people seem to think that Hou doesn't portray the February 28th incident quite like it should be. Instead of focusing on the larger story of the brutality by the Nationalist government, Hou focuses on smaller issues to make the film more universal.

3. One thing that comes to mind is the sudden age progression of Ah-ha. One moment he's a young boy and all of sudden he's a young man. There was never any explanation of how this happened, either through the use of editing or narration. The audience is left to figure this out on their own after some of the young men begin referring to this new character as Ah-ha. This was a very confusing moment in the film, and I don't think I would have caught on as fast if it had not been mentioned before we started watching.