2024-01-18

비정성시 - 위키백과,일어, 영어, 悲情城市 A City of Sadness

비정성시 - 위키백과, 우리 모두의 백과사전

비정성시
悲情城市
감독 허우샤오셴
각본 추티엔웬
우니엔젠
출연 량차오웨이

개봉일 1989년 9월 4일 (베네치아)
1989년 10월 (중화민국)
시간 157분
국가 중화민국
언어 타이완어
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《비정성시》(중국어: 悲情城市, 병음: bēiqíng chéngshì, 영어: A City of Sadness)는 2.28 사건을 소재로 한 허우샤오셴 감독의 1989년 중화민국 역사 드라마 장르의 영화이다.

중국어 영화로는 처음으로 베네치아 국제 영화제에서 황금사자상을 수상했다.

영화의 흥행 이후, 지우펀은 관광 명소로 급부상하게 되었다.

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비정성시

출처 : 무료 백과 사전 "Wikipedia (Wikipedia)"
비정성시
제목 표기
번체비정성시
간체비정성시
늑대bēiqíng chéngshì
영제A City of Sadness
각종 정보
감독후효현
각본오념진 ( 중국어판 )
주천문
제작邱復生( 중국어판 )
출연자李天禄
陳松勇( 중국어판 )
高捷
梁朝偉( 토니 레온)
음악음악 감독 : 다치카와 나오키
음악 감독 :張弘毅( 중국어판 )
음악 : SENS
촬영陳懐恩( 중 국, 판 은 )
편집廖慶松( 중국 판 )
배급일본의 국기 프랑스 영화사
공개중국 국기의 국기 1989년 9월 15일 1990년 4월 21일
일본의 국기
상영시간159분
제작국중국 국기의 국기 대만 영국령 홍콩
홍콩의 국기
언어대만어
베이징어
광동어 상하
이어
일본어
제작비$19,000,000
흥행 소득$34,914,619 [1]
템플릿 보기

『비정성시』(히조죠시, 원제:비정성시, 늑대음 : bēiqíng chéngshì , 영제 : A City of Sadness )는 1989년 제작의 대만 영화 .

개요 [ 편집 ]

일본 통치 시대 말부터 중화민국 이 타이페이 로 천도할 때까지의 대만사회가 그려져 있다. 공개 당시는 대만 의 계엄령 해제로부터 불과 2년 후이며, 대만 내에서 2·28 사건이 공개적으로 말할 수 있는 것은 많지 않았다. 무대가 된九份는 이 작품의 성공으로 대만에서도 굴지의 관광 명소가 되었다.

홍콩 출신인 양조위 는 대만어를 할 수 없었기 때문에 청각장애인 역(문청)이 되었다고 한다.

후효현 감독의 대만 현대사 3부작의 제1부라고 한다. 후작 『희몽 인생』( 1993년 )에서는 이 작품 직전의 시대에 해당하는 일본 의 지배의 시작부터 끝까지가 말해지고 있다.

스토리 [ 편집 ]

1945년 8월 15일 대만에서도 천황의 옥음방송이 진행되어 전쟁이 끝났다. 그날 밤 기류시의 민가에서 하야시 후미오(陳松勇)와 妾 사이에 소년이 태어난다.

하야시가의 가장인 임아록(李天禄)은 배 도매상을 경영하고, 뒷사회에도 얼굴이 잘 어울리는 남자였지만, 지금은 가업을 장남의 문웅에게 맡기고 있다.

후미오는 배 도매상 경영과 병행하여 본가에 '코가미카이 주가'를 연다. 개점 축하의 밤, 가게는 가족 친족이나 친구 지인이 모여 활기차다.

차남의 문룡은 일본군의 군의로 루손섬 으로 향한 뒤 소식이 끊어지고 있다. 3남의 분라(高捷)는 일본군의 통역으로 상하이에 있는 것 같다. 차남 3남의 가족은 장남의 가족과 함께 본가에서 살고 있다. 사남의 문청(梁朝偉, 토니 레온)은 어린 시절의 사고로 인해 귀가 들리지 않고 말을 할 수 없다. 기류 교외의 금류석 으로 사진관을 운영하며 본가와는 거리를 두고 있다. 사진관에는 분청의 친구인 쿠라히로 요시( 고우요시 )가 하숙하고 있다.

가을, 관영의 여동생인 관미(辛樹芬)가 김연석 광산병원에 간호사로 일하기 위해 온다. 관료가 대륙 돌아가는 지식인들을 사진관에 불러 정치에 대해 열심히 이야기하는 가운데, 문청과 관미는 필담으로 교환하면서 점차 친해져 간다.

이윽고 3남의 문양이 상하이에서 돌아오지만, 원인 불명의 정신 착란으로 입원을 강요당한다.

관료는, 종전까지 이 땅에서 일본어 교육을 담당해 온 학교의 오가와 교장( 하세가와 타로 )의 딸인 시즈코( 나카무라 키요시로 )를 은밀하게 생각하고 있었지만, 시즈코는 전사한 형의 유품을 관 영에, 자신의 기모노를 관미에 건네주고 대만에서 일본에 끌어 가는.

정신상태가 회복되어 퇴원하고 있던 3남의 문양에 상하이 마피아의 보스( 뇌명 )와 그 수하들이 접근해 온다. 그들은 후미오의 맘의 형인 아카(장가 년 )를 안내 역에 사용해, 쿠센의 주점에서 연석을 마련해 문양을 대접해, 문웅의 배를 몰래 사용해 쌀이나 설탕, 마약을 밀수해 벌자 와 들고. 거기에 붉은 원숭이 라고 불리는 뭐든지 가게의 남자가 와서 아카를 불러, 일본군이 남긴 지폐를 손에 넣었으므로 현금으로 바꾸어 달라고 부탁한다. 그러나 그날 밤, 붉은 원숭이는 취침 중에 누군가에게 데려가고, 이윽고 변사체가 되어 발견된다.

분라가 관련된 마약의 밀수를 알게 된 분웅은 격렬하게 분노하고 마약의 포장도 다루어 버린다. 후미오는 아카를 데리고, 분라와 이야기를 하기 위해서 야쿠자의 아성(바 야시 테루오 )이 경영하는 도박장으로 향한다. 분라는 여기서 상하이 마피아들과 마작을 치고 있었다. 그런데, 분라는 도박장의 복도에서 붉은 원숭이의 정부였던 아춘과 아성의 아래 김천(林鉅)이 함께 있는 곳을 보았고, 이 두 사람이 붉은 원숭이 살해와 관련되어 있다는 것을 꿰뚫어 말을 걸어 논쟁에서 큰 싸움이 되어 버린다.

그 후 아카도 김천을 습격하는 등 사태는 분웅의 세력과 아성의 세력의 항쟁으로 발전한다. 결국, 중재를 부탁받은 아마 姐( 아마파 ) 아래 관계자들이 모여, 거기서의 논의에 의해 비틀마다 해결했는지 보였다. 그러나 그 겨울, 누군가의 밀고에 의해, 문양은 한지의 혐의 로 중국 국민당 정부에 체포되어 버린다. 가옥에 있던 분웅도 체포될 것 같지만, 아카에게 도와져 도망친다. 문웅은 중국 당국에 얼굴이 뜨는 상하이 마피아에 마약을 돌려 문양의 석방의 손을 잡을 수 있도록 머리를 내린다. 따라서 문양은 석방되었지만 정부의 고문으로 정신을 깊게 앓고 그 후 회복하지 않았다.

음력의 정월을 지난 1947년 2월 27일, 타이베이에서 야미 담배 단속의 소동을 발단으로 본성인과 외성인이 충돌한 <2· 28 사건 > 이 발발 한다. 일본을 대신하여 대만을 통치하게 된 중화민국 정부의 방식에 대한 사람들의 불만이 폭발한 사건이었다. 관영과 문청은 임시 계엄령이 접수된 타이베이로 향한다. 문청은 열차 안에서 외성인과 잘못되어 본성인에게 살해당하지만 관로에 의해 도울 수 있다. 혼란이 계속되는 가운데, 문청은 혼자서 금류석으로 돌아온다. 김과석에서도 많은 외성인이 본성인에게 습격당했고, 병원은 그들의 피난소로 되어 있었다. 그 며칠 후 타이베이에서 '2·28사건 처리위원회'에 참가했던 관료가 발에 큰 부상을 입고 돌아온다. 타이베이에서는 대만성 행정장관 으로 부임하고 있는 중국 국민당 진의 장군이 탄압을 명하고 다수의 본성인이 처형되고 있다고 한다. 관료와 관미는 사각정의 친가로 돌아가지만, 아버지는 관영에 여기에 있어서는 위험하다고 전해, 관영은 혼자 집을 나온다. 이윽고 문청도 관료들 반체제파의 일원으로 간주되어 체포되어 유치소에 수용되어 차례차례로 처형되는 동료들을 배운다. 이윽고 석방된 문청이 친가로 돌아가자, 다음 형의 문룡의 사보가 유품과 함께 도착하고 있었다.

분청은 처형된 동료의 유품과 유언을 유족에게 전달하는 도중 한 산 안쪽에서 대만 독립을 목표로 하는 게릴라의 일원이 되어 몸을 숨기고 있는 관료와 재회한다. 분청은 자신도 동료에게 더해달라고 부탁하지만, 관영은 그것을 인정하지 않고, 여동생의 관미와 결혼해 달라고 문청을 타이베이에 돌린다. 「코가미카이 주가」도 휴업해, 완전히 숙해진 본가로 돌아오자, 히로미는 문청을 당황하고 이 집에 살고 있었다. 문웅도 문청에 대해 관미와의 결혼 각오를 결정하도록 권유한다.

그런 때, 후미오는 들어가고 있던 도박장에서 아카와 김천의 싸움에 휘말려 상해 마피아의 보스의 권총에 의해 목숨을 잃는다. 문웅의 장례식 며칠 후 문청과 관미의 결혼식이 열린다. 평화로운 신혼 생활을 하는 두 사람 사이에는 곧 소년이 태어난다. 히로미의 근원에는 때때로 활동 자금을 무심한 형의 편지가 도착해, 두 사람은 칸노의 무사하게 안심한다. 남편과 아이를 돌보는 날마다 히로미는 행복을 씹는다.

그러나 어느 날, 산으로부터의 사자가 와서, 정부군이 산에 밟아, 관료들 게릴라를 총살한 것을 전한다. 문청들도 도망치라고 했고, 짐을 모아 열차를 타려고 역에 가지만, 그들에게는 갈 곳은 어디에도 없었다. 세 사람은 사진관으로 돌아와 한 장의 가족 사진을 찍는다. 그 사흘 후 문청은 체포되어 연행된다. 히로미는 타이베이에 발길을 옮겨 찾지만, 문청의 소식은 잡지 않는다.

1949년 12월 대륙에서 패배한 국민정부 가 대만으로 건너가 타이베이를 임시 수도 로 정하는 것이었다.

캐스트 [ 편집 ]

수상 경력 [ 편집 ]

각주 [ 편집 ]

  1. ↑ 1989년 대만 표방 Archived 2008년 1월 1일, at the Wayback Machine .(대만 전영 자료고)

관련 항목 [ 편집 ]

외부 링크 [ 편집 ]


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A City of Sadness

From Wikipedia, the free encyclopedia
A City of Sadness
Taiwanese film poster
Chinese悲情城市
Literal meaningCity of sadness
Hanyu Pinyinbēiqíng chéngshì
Directed byHou Hsiao-hsien
Written byChu T’ien-wen
Wu Nien-jen
Produced byChiu Fu-sheng
StarringTony Leung Chiu-wai
Chen Sung-young
Jack Kao
Li Tian-lu
CinematographyChen Hwai-en
Edited byLiao Ching-song
Music byS.E.N.S.
Production
company
3-H Films
Distributed byEra Communications (Int'l rights)
Release dates
Running time
157 minutes
CountryTaiwan
LanguagesTaiwanese
Mandarin
Japanese
Cantonese
Shanghainese

A City of Sadness (Chinese: 悲情城市; pinyin: Bēiqíng chéngshì) is a 1989 Taiwanese historical drama directed by Hou Hsiao-hsien. It tells the story of a family embroiled in the "White Terror" that was wrought on the Taiwanese people by the Kuomintang government (KMT) after their arrival from mainland China in the late 1940s, during which thousands of Taiwanese and recent emigres from the Mainland were rounded up, shot, and/or sent to prison. The film was the first to deal openly with the KMT's authoritarian misdeeds after its 1945 takeover of Taiwan, which had been relinquished following Japan's defeat in World War II, and the first to depict the February 28 Incident of 1947, in which thousands of people were massacred by the KMT.

A City of Sadness was the first (of three) Taiwanese films to win the Golden Lion award at the Venice Film Festival, and is often considered Hou's masterpiece.[1] The film was selected as the Taiwanese entry for the Best Foreign Language Film at the 62nd Academy Awards, but was not accepted as a nominee.[2]

This film is regarded as the second installment in the Wu Nien-jen trilogy as well as the first installment in a loose trilogy of Hsiao-Hsien's films that deal with Taiwanese history, which also includes The Puppetmaster (1993) and Good Men, Good Women (1995). These films are collectively called the "Taiwan Trilogy" by academics and critics.[3]

Plot[edit]

The film follows the Lin family in a coastal town near Taipei, Taiwan from 1945 to 1949, the period after the end of 50 years of Japanese colonial rule and before the establishment of a government-in-exile in Taiwan by Chiang Kai-shek's Nationalist Kuomintang forces once the Communist army captured mainland China.

The film starts on August 15, 1945, with the voice of Emperor Hirohito announcing Japan's unconditional surrender. When Taiwan regained its sovereignty, people were full of joy. A large number of people from the mainland went to Taiwan such as Kuomintang troops, gangsters and people with socialist ideas. Meanwhile, Lin Wen-hsiung, who runs a bar called "Little Shanghai" and is the eldest of the Lin's four sons, awaits the birth of his child. The second son disappeared in the Philippines during the war. The fourth and youngest son, Wen-ching, is a doctor and photographer with leftist leanings who became deaf following a childhood accident; he is close friends with Hiroe and Hiroe's sister, Hiromi.

The third son, Lin Wen-liang, had been recruited by the Japanese to Shanghai as an interpreter. After the defeat of Japan, he was arrested by the Kuomintang government on charges of treason. As a result, his mental condition was stimulated and he had been in hospital since he returned to Taiwan. When he recovered, he met his old acquaintance. He began to engage in illegal activities, including the theft of Japanese currency notes and a smuggling operation run by Shanghainese gangsters. Wen-hsiung eventually learns of this and stops Wen-liang. However, this leads the Shanghainese mob to arrange for Wen-liang's imprisonment on false charges of collaboration with the Japanese. While in prison, Wen-liang is tortured and suffers brain damage as a result.

The February 28 Incident of 1947 occurs, in which thousands of Taiwanese people are massacred by Kuomintang troops. The Lin family follows announcements related to the event via radio, in which Chen Yi, the chief executive of Taiwan, declares martial law to suppress dissenters. The wounded pour into the neighborhood clinic, and Wen-ching is arrested but eventually released. Hiroe heads for the mountains to join the leftist guerillas. Wen-ching expresses his desire to join Hiroe, but Hiroe convinces Wen-ching to return and marry Hiromi, who loves him.

When Lin Wen-hsiung is gambling at a casino one day, a fight breaks out with one of the Shanghainese who previously framed Wen-liang. This results in Wen-hsiung being shot and killed by a Shanghainese mafia member. Following Wen-hsiung's funeral, Wen-ching and Hiromi marry at home, and Hiromi later bears a child. The couple supports Hiroe's resistance group, but the guerilla forces are defeated and executed. They manage to inform Wen-ching of the fact and encourage him to escape, but Hiromi later recounts that they did not have anywhere to go. As a result, Wen-ching is soon arrested by the Kuomintang for his involvement with the guerillas, and there are only Hiromi and her son left at home.[citation needed]

Historical background[edit]

During the Japanese colonial period (1895-1945), Taiwan had limited contact with mainland China. Thus when the control of Taiwan was given to the Republic of China (ROC) led by the Kuomintang (KMT) government at the end of the Second World War, the people on Taiwan faced major political, social, cultural and economic adjustment. Cultural and social tension built up between the Taiwanese and mainlanders during these years. Political distrust was also intensifying between Taiwanese elites and the Provincial Administration headed by Governor Chen Yi. Meanwhile in the late 1940s, the Nationalist government was engaged in a civil war against the Communists on the mainland. The Chinese economy deteriorated rapidly and the post-war economic situation in Taiwan worsened each day. An increasing number of illegal activities took place across the Taiwan Strait and social disturbances, as a result of unemployment, food shortages, poverty, and housing issues, became imminent.[4]

The February 28th Incident[edit]

One of the restrictions implemented at the time was the ban of cigarette trading. The immediate story begins in the front of a tea house in Taipei the day before, on February 27, 1947, when agents from the Tobacco Monopoly Bureau confiscated a Taiwanese female cigarette vendor's illegal cigarettes as well as her money, and then beat her over the head with a pistol while attempting to arrest her. An angry crowd swarmed the agents, prompting one official to open fire on the crowd, killing a bystander. The news triggered mass protests the following morning on February 28; more people were killed by the police and it quickly turned into a large-scale riot.[5] While many local Taiwanese took this as an opportunity to seek revenge on mainlanders, Governor Chen Yi issued martial law and requested Nationalist troops to be sent over from mainland to suppress the incident. For the following 38 years, Taiwan was placed under martial law in a period that is now known as the "White Terror" period. Consequently, a generation of Taiwanese local elites were arrested and killed. It was estimated that between 10,000 and 20,000 people died as a result of the 2/28 incident, with more and more people dying or going missing during the White Terror. The trauma of 2/28 haunted Taiwan's politics and society and soured the relationship between the Taiwanese and mainlanders for several decades.[4]

Cast[edit]

  • Tony Leung Chiu-wai as Lin Wen-ching (林文清), fourth brother, a doctor and photographer. Wen-ching is the youngest son in the Lin family. He is deaf-mute because of an accident in his childhood. He communicates with others mainly by writing, especially with Hiromi. He is arrested following the 2/28 event. After he is released, he does two things. First, he delivers the final messages of executed cellmates. Second, he goes to find Hiroe and wants to join him as a revolutionary, however, he is convinced by Hiroe and goes back home to marry Hiromi. Wen-heung opens a photo studio so Wen-ching can support Hiroe, and after the guerilla forces are defeated, Wen-ching gets arrested and never comes back, leaving Hiromi and their child.
  • Chen Sung-young as Lin Wen-heung (林文雄), eldest brother, and owner of a trading company and restaurant. After his restaurant is closed down following the 2/28 event, he falls into drinking and gambling, and is eventually shot to death in a spur of the moment revenge attack for Wen-leung.
  • Jack Kao as Lin Wen-leung (林文良), third brother, traumatised by his time in the war. After his release from hospital, he goes into business with Shanghai gangsters. After causing them more trouble than he is worth, Wen-leung is framed by the gangsters and goes to prison where he is beaten and suffers brain damage before being released.
  • Li Tian-lu as Lin Ah-lu (林阿祿), patriarch of the Lin family.
  • Xin Shufen as Hiromi (Japanese pronunciation of her Chinese name: 吳寬美), sister of Hiroe, and is a nurse in the hospital. She knows Wen-ching through her brother Hiroe. She usually communicates with Wen-ching by writing. After she quits her job at the hospital, she marries Wen-ching after he is released from prison and they have a child.
  • Wu Yi-fang as Hiroe (Japanese pronunciation of his Chinese name: 吳寬榮), friend of Wen-Ching, brother of Hiromi and a school teacher. A progressive. Because the Taiwan government arrested a large number of progressives and killed innocent people indiscriminately, he establishes an anti-government organization in the mountains. However, they are defeated and arrested at the end.
  • Nakamura Ikuyo as Shizuko
  • Chan Hung-tze [zh] as Mr. Lin. A progressive friend of Hiromi.
  • Wu Nien-jen as Mr. Wu.
  • Zhang Dachun as Reporter Ho.
  • Tsai Chen-nan as singer (cameo appearance).

Music[edit]

No.Name
01悲情城市～A City Of Sadness
02Hiromi～Flute Solo
03文清のテーマ
04Hiromiのテーマ
05悲情城市～Variation 2
06凛～Dedicated To Hou Hsiao-Hsien

Sourced from Xiami Music.[6]

Production[edit]

Map
Wikimedia | © OpenStreetMap

A City of Sadness was filmed on location in Jiufen, a former Japanese and declined gold mining town that continued to operate in the postwar period until the 1960s. Jiufen is located in the northeast of Taiwan, an area isolated from the rest of Taipei County and Yilan County. There are only rough county roads and a local commuter railway line connecting Jiufen to the outside world, which designated a low priority for urban revitalization and land development.[citation needed] Jiufen's hillside communities were constructed before the modern zoning codes were put in place, and therefore provided a small Taiwanese town feeling and atmosphere that symbolizes the historical period that is presented in the plot of A City of Sadness.[7]

Hou remembers Jiufen fondly as he traveled to Jiufen through a tourist gaze when he was young. The shooting of the scenes of train travel to Jiufen particularly evoked his nostalgic rhetoric and joyful memories of a high school trip to Jiufen with his school friends. Hou noted that the train in Taiwan is a very important mode of transportation and he would ride the train a lot. It is very hard for him to forget the connection between him and the trains, so the train tracks appear multiple times in the film.[7]

Background[edit]

By the 1980s, the New Taiwanese Cinema movement was moving towards not just creating films for the people of Taiwan, but also for a larger, international audience. Directors Hou Hsiao-hsien and Edward Yang noted that they wanted to emulate the popularity of Hong Kong cinema, which revolved around high quality productions with strong star power to back it up.[3] In A City of Sadness, Hou relied primarily on foreign investment, particularly from Japan. Japanese technology, techniques, and facilities were used in the post-production and resulted in what critic and producer Zhan Hongzhi described as an aspect of "high-quality" that could draw in international viewership.[3] Another aspect of this plan was star power, reflected in one of the principal characters, Wen-ching, being played by then rising Hong Kong film star Tony Leung.[3] The intention behind this was to increase Hong Kong and Overseas Chinese viewership. The film also used an array of different languages, chiefly Taiwanese Hokkien, Cantonese, Japanese, and Shanghainese as a way to promote the cultural diversity of the cast and reflectively, of Taiwan to a global audience, which stands in contrast to many earlier films being only in Mandarin Chinese, due to the governments promotion of Mandarin as the national language.[3]

Conceptualization[edit]

Hou Hsiao-hsien was interested in creating a film that could tell a story about a family, specifically during the 228 Incident and the White Terror by a few reasons. He cited how the death of Chiang Ching-kuo in 1988 and the lifting of martial law the year prior made it an appropriate time to address the 228 Incident, which Hou felt had been covered up by the government. He noted how books were not available on the subject and he wanted to provide a vantage point about the story through the lens of a family.[8]

Hou Hsiao-hsien wrote:

"Everybody knew about the 228 Incident. Nobody would say anything, at least in public, but behind closed doors everyone was talking about it, especially in the Tangwai Movement [..] The 228 Incident was already known, so I was more interested in filming a time of transition, and the changes in a family during a change in regime. This was the main thing I wanted to capture… There's been too much political intervention. We should go back to history itself for a comprehensive reflection, but politicians like to use this tragedy as an ATM, making a withdrawal from it whenever they want. It's awful. So no matter what point of view I took with the film, people would still criticize it. I was filming events that were still taboo, I had a point of view, and no matter what, I was filming from the point of view of people and a family… Of course it's limited by the filmmaker's vision and attitude. I can only present a part of the atmosphere of the time."[8]

According to scriptwriter Chu Tien-Wen's book, the original premise of the film was the reunion of an ex-gangster (which Hou Hsiao-Hsien intended to cast Chow Yun-fat for the role) and his former lover (supposedly played by Yang Li-Hua, the top Taiwanese Opera actress in real-life) in 1970s. Hou and Chu then extended the story to involve substantial flashbacks of the calamity of the woman's family in late 1940s (where the woman was the teenage daughter of Chen Song-Yong's character). They then abandoned the former premise and instead focused on the 1940s' story.

Film techniques[edit]

The movie includes many Chinese dialects, such as Southern Min, Cantonese and Shanghainese, which make this film pellucid for different groups of people. Ming-Yeh T. Rawnsley explains that "by representing the political reality of the late 1940s indirectly, A City of Sadness deals with the past, but is not trapped by the past, and is able to achieve a sense of objectiveness and authenticity."[4] The use of dialects and historical facts can make audiences have a connection to characters within the film, and ensure the objectiveness and authenticity. The film also functions as a form of resistance as those with less power are able to diminish claims by other classes.

Wen-ching's deafness and muteness began as an expedient way to disguise Tony Leung's inability to speak Taiwanese (or Japanese—the language taught in Taiwan's schools during the 51-year Japanese rule), but wound up being an effective means to demonstrate the brutal insensitivity of Chen Yi's ROC administration.[9] As he communicated through other means (photographs, pen and paper) he is often playing the role of an observer. His inability to speak could mirror Taiwan being silenced by its oppressors.

Sound plays an important role in the film as the opening scene is shot in darkness, with the only sound being Emperor Hirohito on the radio broadcast. Throughout the film, the use of Japanese language is cultural, as it represents the experiences of the Taiwanese and their cultural identity. Most of the characters would not be able to understand much Japanese as they would not have lived through 51 years of Japanese rule. This is why the native characters speak Taiwanese with some Japanese words mixed into their speech.[10]

Reception and impact[edit]

Critical reception[edit]

A City of Sadness was a major commercial success in Taiwan, but critics were largely ambivalent toward the work. Having been advertised as a film about the February 28 Incident but never explicitly depicting the event, the film was consequently criticized as politically ambiguous, as well as overly difficult to follow.[11] It was also criticized for not depicting the events of February 28 well, instead presenting the events in a subtle and elliptical manner.[12] It is now widely considered a masterpiece,[13] and has been described as "probably the most significant film to have emerged out of Taiwan's New Cinema."[11]

Richard Brody of The New Yorker argued, "Hou's extraordinarily controlled and well-constructed long takes blend revelation and opacity; his favorite trope is to shoot through doorways, as if straining to capture the action over impassable spans of time."[14] In Time Out, Tony Rayns wrote, "Loaded with detail and elliptically structured to let viewers make their own connections, [...] Hou turns in a masterpiece of small gestures and massive resonance; once you surrender to its spell, the obscurities vanish."[15] Jonathan Rosenbaum lauded Hou as "a master of long takes and complex framing, with a great talent for passionate (though elliptical and distanced) storytelling."[16] In the Chicago Tribune, Dave Kehr declared, "A City of Sadness is a great film, one that will be watched as long as there are people who care about the movies as an art."[17]

The review aggregator website Rotten Tomatoes reported that 100% of critics have given the film a positive review based on 13 reviews, with an average rating of 9.30/10.[18] In the British Film Institute's 2012 Sight & Sound poll, 14 critics and two directors named A City of Sadness one of the ten greatest films ever made, placing it at #117 in the critics' poll and #322 in the directors' poll.[19]

History, trauma, and reconciliation[edit]

Critics have noted how this film (as well as the other 2 films that form the trilogy) started a larger discussion into memory and reconciliation for the 228 Incident and the White Terror on Taiwan. Sylvia Lin commented that "literary, scholarly, historical, personal, and cinematic accounts of the past have mushroomed, as the people in Taiwan feel the urgent need to remember, reconstruct, and rewrite that part of their history.”[20] June Yip noted that the Taiwan Trilogy marked a “autobiographical impulse” to reclaim the history that was now acceptable with the lifting of martial law.[21] Another critic, Jean Ma, also noted the method of displaying trauma by Hou felt "real" and could connect to global audiences everywhere from the "Truth and Reconciliation Commission of South Africa, the desaparecidos of Argentina, and the Armenian massacre as instances in which memory bears the ethical burden of a disavowed or denied history."[21]

Resurgence of Taiwanese Hokkien (Taiyu) in film[edit]

A City of Sadness has been touted as one of the few films to bring Taiwanese Hokkien to prominence and to a global audience. The usage of Taiwanese Hokkien in the film has been noted to be in direct conflict with the then-rule regarding national language in Taiwan. The Taiwanese language policy about promoting Mandarin made making films in other minority dialects and languages limited to only a third of the total script. A City of Sadness however, was filmed mostly in Taiwanese Hokkien. Hou Hsiao-hsien's film was allowed by the Government Information Office (the office responsible for government censorship/media) to send a copy of the rough cut to Japan for post-production where it was processed and sent directly to the Venice Film Festival without being authenticated by Taiwanese censors from the GIC.[22] The winning of the Golden Lion and Golden Horse Awards marked a first for Chinese-speaking films, but also were controversial, since A City of Sadness violated then rules about national language usage in films. The success of the film however, renewed interest in Taiwanese Hokkien and became part of the Taiyu Language Movement and started a resurgence of films from Taiwan that utilized minority languages such as Hakka alongside other Taiwanese indigenous languages.

Contemporary references[edit]

The term "City Of Sadness" has been used to describe the state of Hong Kong after the 2014 Umbrella Movement by scholars. Academic Tina L. Rochelle has associated the term with how Hong Kong's trajectory mirrors the trajectory of Taiwan during the 228 Incident and the White Terror.[23] Much like in the case of the 228 Incident, the Umbrella movement was fueled by building resentment of the way Hong Kong citizens were being treated after the 1997 handover of Hong Kong to the Peoples Republic of China. The cause of anger with citizens was the deterioration of freedoms and rights, the increased feeling of policing, and the imposition of a foreign power's sovereignty over a newly integrated location. This is a characteristic Rochelle highlights as similar in both Taiwan and Hong Kong and is what makes Hong Kong a "modern City of Sadness."[23]

Awards and nominations[edit]

See also[edit]

References[edit]

  1. ^ Xiao, Zhiwei; Zhang, Yingjin (2002). Encyclopedia of Chinese Film. Routledge. p. 190. ISBN 1134745540.
  2. ^ Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
  3. ^ Jump up to:a b c d e Trauma and Cinema: Cross-Cultural Explorations. Hong Kong University Press. 2008. ISBN 978-962-209-624-0. JSTOR j.ctt2jc7kk.
  4. ^ Jump up to:a b c Rawnsley, Ming-Yeh T. (2011). "Cinema, Historiography, and Identities in Taiwan: Hou Hsiao-Hsien's A City of Sadness". Asian Cinema. 22 (2): 196–213. doi:10.1386/AC.22.2.196_1. ISSN 1059-440X.
  5. ^ Shattuck, Thomas J. "Taiwan's White Terror: Remembering the 228 Incident". Foreign Policy Research Institute. Retrieved 27 February 2017.
  6. ^ "A City of Sadness by S.E.N.S." Xiami Music.
  7. ^ Jump up to:a b Lo, Dennis (2020). "A Home in Becoming: Forging Taiwan's Imagined Community in Jiufen". The Authorship of Place: A Cultural Geography of the New Chinese Cinemas. Oxford University Press. pp. 98–117. doi:10.5790/hongkong/9789888528516.003.0005. ISBN 9789888180028. S2CID 236874268.
  8. ^ Jump up to:a b "Reality in Long Shots: A CITY OF SADNESS | Austin Asian American Film Festival | Online Shorts Festival June 11–17, 2020". Retrieved 15 June 2020.
  9. ^ Berry, Michael (October 2005). Speaking in Images: Interviews with Contemporary Chinese Filmmakers. Columbia University Press. ISBN 978-0-231-13330-2.
  10. ^ Rawnsley, Ming-Yeh. "Rawnsley, M.T. (2012). Cinema, Identity, and Resistance: Comparative Perspectives on A City of Sadness and The Wind that Shakes the Barley". {{cite journal}}: Cite journal requires |journal= (help)
  11. ^ Jump up to:a b "A City of Sadness". Harvard Faculty of Arts and Sciences. Archived from the original on 25 October 2018. Retrieved 6 February 2017.
  12. ^ Linden, Sheri (23 August 2019). "'A City Of Sadness': Hou Hsiao-Hsien's Historical Tragedy Remains A Masterpiece 30 Years Later". SupChina. Retrieved 15 June 2020.
  13. ^ Shaw, Tristan (28 March 2015). "Taiwanese director Hou Hsiao-hsien captures life's big, small moments". Los Angeles Times. Retrieved 6 February 2017. "In "A City of Sadness," widely considered a masterpiece,"
  14. ^ Brody, Richard. "A City of Sadness". The New Yorker. Retrieved 6 February 2017.
  15. ^ Rayns, Tony. "A City of Sadness". Time Out. Retrieved 6 February 2017.
  16. ^ Rosenbaum, Jonathan. "A City of Sadness". Chicago Reader. Retrieved 6 February 2017.
  17. ^ Kehr, Dave (22 June 1990). "Taiwanese 'Sadness' Filmmaking At Its Best". Chicago Tribune. Retrieved 6 February 2017.
  18. ^ "Bei qing cheng shi (A City of Sadness) (1989)". Rotten Tomatoes. Fandango. Retrieved 20 July 2023.
  19. ^ ""City of Sadness, A" (1989)". British Film Institute. Archived from the original on 20 August 2012. Retrieved 3 June 2015.
  20. ^ Lin, Sylvia Li-chun (2007). Representing Atrocity in Taiwan: The 2/28 Incident and White Terror in Fiction and Film. Columbia University Press. doi:10.7312/lin-14360. ISBN 9780231512817. JSTOR 10.7312/lin-14360.
  21. ^ Jump up to:a b Ma, Jean (2010). Melancholy Drift: Marking Time in Chinese Cinema. Hong Kong University Press. ISBN 978-988-8028-05-4. JSTOR j.ctt1xcs2b.
  22. ^ Zhang, Yingjin (2013). "Articulating Sadness, Gendering Space: The Politics and Poetics of Taiyu Films from 1960s Taiwan". Modern Chinese Literature and Culture. 25 (1): 1–46. ISSN 1520-9857. JSTOR 42940461.
  23. ^ Jump up to:a b Rochelle, Tina L. (2015). "Diversity and Trust in Hong Kong: An Examination of Tin Shui Wai, Hong Kong's 'City of Sadness'". Social Indicators Research. 120 (2): 437–454. doi:10.1007/s11205-014-0592-z. ISSN 0303-8300. JSTOR 24721122. S2CID 145079416.
  24. ^ "The awards of the Venice Film Festival". Retrieved 6 March 2011.

Further reading[edit]

External links[edit]




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