초록 열기/닫기 버튼
This paper analyzed and considered how Edward Yang’s A One And A Two, a film as a medium makes an esthetic experiment and how the creator show his subjectivity about the world and human beings. In doing so, it also discussed how audiences sympathize with the creator through the media of films and how films produce individual truths regarding human beings and the world. Meanwhile, his films have been discussed as those with reference frames for the historical development and the formation of modernity in Taiwan and capitalist urbanization and human alienation in Taipei. There is a more essential and aesthetic reason for a lot of people to accept A One And A Two as a text demonstrating why the cinema should ultimately exist, beyond time and space and the language barrier. A One And A Two has potential and images for changing invisible things to visible ones. Edward Yang pursued loosely overlapped images configured in parallel, rather than a single narrative created by connecting densely and privileged ones. In addition, he attempts to draw up routine figures which have been absent and silent in the narrative art. Audiences’ ‘individual’ narratives can be completed, as audiences’ subjectivity intervenes in the gap among Edward Yang’s images. A One And A Two thus rejects justified moral law and the aesthetics of integrity, which films may often show, and subverts the traditional aesthetical view. Here, the popularity and artistry of his films are secured.
