Approaches to Children's Films in Taiwan in the 1980s

• Main Authors: Huang Chien-Fene, 黃千芬
• Other Authors: Duh Ming-Cheng
• Format: Others
• Language: zh-TW
• Published: 2004
• Online Access: http://ndltd.ncl.edu.tw/handle/14967928443047049166

碩士 === 國立臺東大學 === 兒童文學研究所 === 93 === Approaches to Children’s Films in Taiwan in the 1980s Huang, Chien-Fene National Taitung University The Graduate Institude of Children’s Literature The purpose of this study is to identify children’s power as a theme underwent children’s films in Taiwan. As revealed, children are not necessarily victims who sought protection from the grown-ups, contrarily they may become active players to combat and conquer their adversity. The texts analyzed include four movies appeared between 1984 and 1991, a period known as Taiwan’s New Movie. They are Ko Yi-Chen’s Kidnapped and The Piggy Tale, Hsiao-hsien Hou’s The Summer at Grandpa’s and Wang Shia-Gin’s 12 Turtles respectively. Through the kid’s role of these four works, the directors recall their development and reconstruct their assumption about childhood. In the first chapter, the author tried to investigate the causes that resulted in the prevalence of growth and loss as a major theme of children’s film in the 1980’s. History of Taiwan’s film, children’s literature, and the rating system of movie at that period of time were examined for this regard. In Chapter 2, the meaning of children’s film was redefined. As a result, children’s film is treated as a genre in this study. In the third chapter, formal analysis of exposition was applied to highlight the community relations that ignite conflicts, narrative structures that conclude the hero’s rite of passage and the resolution of role conflict, and an overmatured image of childhood. In the fourth chapter, the study dealt with the relationship between small animals and the children protagonists, and it also concluded the director’s assumption on childhood. The main actors were forced to find the antagonism between nature and enclosed space. In the final chapter, the author concluded the genre, from social, political and economic aspects, as pastoral and reminiscent works.