| Summary: | 碩士 === 國立臺南藝術大學 === 動畫藝術與影像美學研究所 === 101 === 1970s is a transitional decade with social environment changing rapidly and unpredictably in Taiwan. The failures in international diplomacy and the limited international space in the 1970s offer an important opportunity to stimulate intellectuals’ national awareness and back-to-reality. In terms of cinema, from the “Healthy Realism” in early 1960s which is in response to the bright side in the society and lack of the thinking towards social reality issues to the pioneering “New Cinema” in 1980s, the way of cinema practice and thinking structure are quite different from before. It demonstrates a Taiwan growth experience and opens up the cinema realism of Taiwan modern spirit. Therefore, the 1970s, a decade lack of due attentions, plays a linking role in the history upon reflection. Based on the image analysis and writing strategy of the 24th issue of Taiwan’s magazine Influence, the study explores the image of the time reflected by Taiwan’s society and the cinema direction. It is Taiwan that truly regards the cinema as a kind of art instead of entertainment. The modern art thoughts, including film theory, Avant-grade theater, European and American cinema, are introduced for the first time just for the issuing of Theatre in 1965, taking the lead in issuing magazines on modern aesthetics of images. Later, the publishing of Influence in 1971 shows that cinema is treated as a kind of art as well as culture, initiating a kind of comment with in-depth image reflection.
As for the establishing of film magazines, cinephilia is the fundamental basis of film magazines. The books by Louis Delluc and Susan Sontag illustrate the spirit and concept of cinephilia; meanwhile, the discourse of cinema generated by cinephilia complex in Influence, namely, the “representation of cinephilia modernity” is sorted out from the ciniphilia culture history. It means that in the course of history, the concrete thinking and response about reality is a depiction of an awareness of contemporary cinema and the represention of image analysis and writing strategy by Influence. The characteristics of “cinephilia modernity” is considered first from the perspective of polysemy and multiple dimensions of modernity, and then from the aspect of Asia presented by Geeta Kapur, so as to analyze the historical experience of Taiwan’s modernity. It refers to the pursuit of “China” cinema art by Influence under the background of social and historical reality. 1970s, an important decade in Taiwan’s film history, not only carries forward the achievements made by Theatre in 1960s, but also lays a solid foundation for Taiwan’s diverse cinema development in quality and quantity and colorful images of contemporary time after 1980s.
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