Women’s Roles in Taiwanese New Cinema: After Twenty Years

• Main Authors: Te-Chuan Chang, 張德娟
• Other Authors: none
• Format: Others
• Language: zh-TW
• Published: 2006
• Online Access: http://ndltd.ncl.edu.tw/handle/63837827852935675184

博士 === 國立中山大學 === 中山學術研究所 === 94 === This paper conducts a research on the movies chosen from the genre of “Taiwanese New Cinema,” including “Ah Fei,” “Osmanthus Alley,” “Kuei-mei, a Woman,” “Somewhere My Love,” “The Woman of Wrath,” and “Rouge of the North.” The results of this research are drawn from the data of the in-depth interviews. The audience, such as script writers and directors, and advocates of women’s movement with high educational background and socio-economic status, are interviewed, and these contents are analyzed. Due to various identities of the interviewees, who are both encoders and decoders, the existent theoretical framework is inadequate to explain the phenomena under research. However, according to Hall’s Encoding/Decoding Theory, another way of interpretation, i.e., the “Suggestive Interpretation,” has been added. It suggests that the script writers and directors should not be confined to the original framework and that they should take the initiative to provide their own opinions. All the possibilities of decoding can thus be included in a more comprehensive way. The “Tilt Theory” in the study of marriage relationship assumes that only when the relationship has ups and downs like a tilt, can it last long. The conclusion suggests that modern women in Taiwan should be confident, continuously strive to achieve their goal, not let themselves down and do whatever they want to do, so as to become the master of their own life.