희몽 인생戯夢人生
| 희몽 인생 | |
|---|---|
| 제목 표기 | |
| 번체 | 戲夢 인생 |
| 간체 | 카즈시 삶 |
| 늑대 | Xì mèng rén shēng |
| 영제 | The Puppetmaster |
| 각종 정보 | |
| 감독 | 侯孝賢(호우 승, 현 현) |
| 각본 | 우념진 (우·니엔젠) 주천문 (주·티엔웬) |
| 원작 | 李天祿(이을 승, 옥돌 현) |
| 제작 | 저택복생 (치우 푸션) |
| 출연자 | 李天祿(리 티룽 루, 린 강) 줄기 중 (정 퀴천) 탁거 위 |
| 음악 | 陳明章 (첸민장) |
| 촬영 | 李屏賓(이을 빈, 빈 빈) |
| 편집 | 廖慶松 (야오 칭슨) |
| 배급 |  프랑스 영화사 |
| 공개 |  1993년.svg){kind=small} 1993년 12월 8일1993년 12월 11일 |
| 상영시간 | 110분 |
| 제작국 | 대만 |
| 언어 | 대만어 일본어 |
『희몽 인생』(기무진세이, 원제: 희몽 인생, 영어제: The Puppetmaster)은 1993년 제작의 대만 영화 .
개요 [ 편집 ]
전작 『비정성시』를 제2부, 차작 『호남호녀』를 제3부로 하는 후우 샤오셴 감독의 대만 현대사 3부작의 제1부가 되는 작품으로, 대만이 일본 통치하에 있던 1895년부터, 1945년의 일본 패전에 의한 중화민국 진주까지의 시대를 배경으로, 후효현 영화의 단골이며, 또 대만의 전통 예능인 인형 연극·후부쿠로 희(대만어로 보테 히 , 베이징어로 푸타이시)의 국보적 명수이기도 한 이천상 (리 티엔루)의 반생을 그 자신의 회상을 바탕으로 그렸다. 이천포에 의한 이야기가 3분의 1을 차지하고 있으며, 세미 다큐멘터리 영화라고도 할 수 있는 작품.
1993년 제46회 칸 국제영화제 에서 심사위원상을 수상했다.
쿠로사와 아키라는 , 자작은 영화가 되고 있는 부분과 그렇지 않은 부분이 있는 것에 대해, 본작은 모두가 영화가 되고 있다고 후효현에게 말하고 있다(「대계 쿠로사와 아키라」 제4권, 후효 켄 와의 대화).
개요 [ 편집 ]
![[icon]](https://ja.wikipedia.org/wiki/%E3%83%95%E3%82%A1%E3%82%A4%E3%83%AB:Wiki_letter_w_cropped.svg){kind=small}
1909년 이천상 은 이화( 홍류 )의 초손으로 태어났다. 아버지의 허몽동(蔡振南)은 대만 전통의 인형 연극· 후부 쿠로 희의 인형사였지만, 점쟁이의 판단으로, 열매의 부모를 「아저씨」 「아줌마」라고 불려, 할아버지의 밑에서 자랐다. 당시 대만은 일본 식민지 였지만 중국 본토에서는 1911년 청나라 가 중화민국이 되었다 . 차례차례로 가족을 잃고 계모의 내선(양려음 ) 에 차갑게 되어 매운 날들을 보내면서도 언젠가 봉투희를 기억하고 젊어서 인형극단을 가졌다. 1937년 노미조바시 사건이 일어나 이불주머니는 금지되어 버려 리는 배우로서 순업을 하고 살고 있는 가운데 황민화 교육의 일환으로 반영미 정책의 인형극단으로 불린다 . 미군의 공습이 격렬함을 늘려 소개에 나선 날 일본이 항복한 것으로 알려졌다. 이천상은 고향으로 돌아와 후부쿠로희의 상연을 재개한 것이었다 [1] .
캐스트 [ 편집 ]
- 李天祿(이을 천 )
- 李天祿 (어른 시) : 린강 (린창)
- 李天祿 (소년 시) : 줄기 중 (정퀴천)
- 李天祿 (어린이 시): 탁거위 (주오 주웨이)
- 할아버지·이화 : 홍류 (홍리우)
- 할머니·왕아: 백명화 (바이·민호아)
- 아버지 · 허몽 겨울 :蔡振南 (차이 젠난)
- 어머니・이년：고동수（가오・톤시우）
- 계모・來發：楊麗音（양・리인）
- 아내·첸차 :黄倩茹(호안 치앙 루)
- 아내의 할아버지 진진: 무납운 (우라윤)
- 아내의 아버지 · 첸 아야 :李傳燦
- 아들·아황(진석황): 이문彬(리·웬빈)
- 딸·李娥娥:蔡宜樺(차이 이호 아)
- 大目仔の母・阿春：蔡秋鳳（자이・치우폰）
- 大目仔：陳亦珊（첸 이샨）
- 레이주：魏筱恵（웨이・샤오호이）
- 카와카미 과장：이토 사로로
- 카와카미 과장의 아내: 히노 쿄코
- 추진대 대장・쿠보타 : 다케모토 카즈마사
주석 [ 편집 ]
- ↑ KINENOTE HP 희몽 인생 개요 참조
관련 항목 [ 편집 ]
외부 링크 [ 편집 ]
- 희몽 인생 - allcinema
- 희몽 인생 - KINENOTE
- The Puppetmaster - 올 영화 (영어)
- Xi meng ren sheng - IMDb (영어)
The Puppetmaster (film)
| The Puppetmaster | |
|---|---|
 DVD cover | |
| Chinese | 戲夢人生 |
| Literal meaning | Dream life |
| Hanyu Pinyin | Xìmèng rénshēng |
| Directed by | Hou Hsiao-hsien |
| Written by | Chu T’ien-wen Wu Nien-jen |
| Produced by | Chiu Fu-sheng |
| Starring | Lim Giong Li Tian-lu Tsai Chen-nan |
| Narrated by | Li Tian-lu |
| Cinematography | Mark Lee Ping-bin |
| Music by | Chen Ming-chang |
Release date | 1993 |
Running time | 142 minutes |
| Country | Taiwan |
| Language | Hokkien |
The Puppetmaster is a 1993 Taiwanese film directed by Hou Hsiao-hsien. Based on the memoirs of Li Tian-lu, Taiwan's most celebrated puppeteer, this story covers the years from Li's birth in 1909 to the end of Japan's fifty-year occupation of Taiwan in 1945.
Many consider The Puppetmaster a masterpiece of world cinema. In the British Film Institute's 2012 Sight & Sound poll, seven critics and three directors named it one of the greatest films ever made.[1]
Plot[edit]
The film tells the story of Li Tian-lu (1910-1998), who becomes a master puppeteer but is faced with demands to turn his skills to propaganda during the Japanese occupation of Taiwan in World War II. Scenes from his childhood and early adulthood are intercut with puppet performances and newly-filmed interviews of Li recounting his life as he's swept up in Taiwan's tumultuous history.[2][3]
The film is the second in Hou's trilogy of historical films about Taiwan in the 20th century. A City of Sadness (1989) covered the four years between the end of World War II and the retreat of the Kuomintang to Taiwan in 1949, when Taipei was declared the “temporary” capital of the Republic of China. Good Men, Good Women (1995) later covered forty additional years of Taiwanese history, from the 50s to the present.[4]
Cast[edit]
| Actor | Role |
|---|---|
| Li Tian-lu | Himself |
| Lim Giong | Li Tian-lu (young) |
| Tsai Chen-nan | Ko Meng-dang (father) |
| Yang Li-yin | Lai Hwat (stepmother) |
| Vicky Wei | Lei Tzu |
Production[edit]
The Puppetmaster was photographed in Fuzhou, the capital of southeastern China's Fujian province, and in Taiwan. The film is structured around a series of ellipsis, which Hou has compared to traditional Chinese opera: "It simply gives you a scene without much of a clear narrative, unlike Western drama where all the elements must be put in place. Ellipsis and other indirect narrative methods are, ironically, more clear-cut and to the point. It all depends on how you master these methods."[5]
For the shots showing Li himself, he usually appears at a particular location right after it has been introduced dramatically. The shifts between narrative and interview footage and between past and present are frequently accompanied by some narrative clarification that facilitates a change in the audience's perspective. Critic Jonathan Rosenbaum observed that "the only rough parallel I can think of in Hollywood filmmaking is the use of real-life 'witnesses' in Warren Beatty’s Reds, but here it's as if John Reed himself, not people remembering him, suddenly appeared on-screen."[4]
Hou has stated that through this film he was “exploring the values of traditional culture which [Taiwan has] lost...We have distanced ourselves from nature and man has become like a puppet – he has lost his power to be his own master. The Puppetmaster represents the lament which I feel for the loss of our culture."[5]
The Puppetmaster premiered in the U.S. at the New York Film Festival in 1993,[3] but like most of Hou’s films, it has never been commercially released in America. It was rarely screened until it anchored a comprehensive Hou Hsiao-Hsien retrospective that toured North American cinematheques and museums in the fall and winter of 2014.[6]
Reception[edit]
Jim Hoberman of The Village Voice hailed it as the best film of 1993 and one of the ten best of the 1990s,[7] writing later that "it was for The Puppetmaster that Taiwanese master filmmaker Hou Hsiao-hsien first developed a startlingly advanced form of montage that has been compared to the movement of clouds drifting across the sky."[6]
Jonathan Rosenbaum of The Chicago Reader also selected The Puppetmaster as one of the ten best films of the decade, adding that "The Puppermaster is only one of four masterpieces made by Hou in the 90s" and that Hou was "one of the two greatest working filmmakers in the world right now, along with [Abbas] Kiarostami."[8]
Critic and director Kent Jones also praised The Puppetmaster alongside Hou's 1990s work, writing that "the density of Hou’s concentration within any given shot is apparently infinite, and there’s no such thing as an 'insert' or a 'cutaway' in his work. Which is why a jump in time or a sudden juxtaposition can feel immense. Starting with The Puppetmaster, the logic of each film is built around the effects of these breaks and juxtapositions." Jones also discussed the lack of distribution for Hou's films, observing that "in America [Hou] seems to have become a marked man before making the transition from cult phenomenon to arthouse favorite...Prompting an artist of this magnitude to make his work more accessible is like asking [Karlheinz] Stockhausen to write catchier tunes, or asking John Ashbery to appeal to readers of USA Today. It doesn’t make any sense. Because right now, it doesn’t get much better than Hou Hsiao-hsien."[9] British Film Institute ranked the film at No. 11 on its list of "90 great films of the 1990s".[10]
Awards[edit]
The Puppetmaster was the first Taiwanese film to enter competition at Cannes where it won the Jury Prize at the 1993 Cannes Film Festival[2][11] and the FIPRESCI Prize at the Istanbul International Film Festival.[12]
References[edit]
- ^ ""Puppetmaster, The" (1993)". British Film Institute. Archived from the original on August 20, 2012. Retrieved June 3, 2015.
- ^ a b "The Puppetmaster. 1993. Directed by Hou Hsiao-Hsien". moma.org. Museum of Modern Art. Retrieved April 16, 2021.
- ^ a b Canby, Vincent (October 6, 1993). "Review/Film Festival: A Taiwan Artist Tells His Island's Story Obliquely". The New York Times. Archived from the original on May 26, 2015. Retrieved 16 April 2021.
- ^ a b Rosenbaum, Jonathan (December 3, 1993). "Searching for Taiwan". The Chicago Reader. Retrieved 16 April 2021.
- ^ a b Chiao, Peggy Hsuing-ping (Autumn 1993). "History's Subtle Shadows". Cinemaya (21).
- ^ a b Hoberman, Jim (September 19, 2014). "Taiwan's Master Timekeeper". The New York Review. Retrieved 16 April 2021.
{{cite journal}}: Cite journal requires|journal=(help) - ^ "J. Hoberman's Top Ten Lists 1977-2006". Archived from the original on October 31, 2016. Retrieved April 16, 2021.
- ^ Rosenbaum, Jonathan (December 24, 1999). "The Decade's Finest [The Ten Best Movies of the 90s]". The Chicago Reader. Retrieved 16 April 2021.
- ^ Jones, Kent (September 1999). "Cinema With a Roof Over its Head". Film Comment. Retrieved 16 April 2021.
{{cite journal}}: Cite journal requires|journal=(help) - ^ "90 great films of 1990s". bfi.org. 18 July 2019.
- ^ "Festival de Cannes: HSIMENG RENSHENG". festival-cannes.com. Retrieved April 16, 2021.
- ^ "13rd Istanbul International Film Festival". Retrieved April 16, 2021.
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