Professional Documents
Culture Documents
Hou himself does not consider his first three feature filmsLovable
You (aka Cute Girl, 1980), and the other two films that soon fol-
lowed, Play While You Play (aka Cheerful Winds, 1981), and Green,
Green Grass of Home (1982)as part of his directorial career. He
was paying his dues, as it were, for the greater creative freedom those
profitable productions would afford him.2 These three popular films,
made between 1980 and 1982, were often dubbed his commercial
trilogy. The year 1982, to be sure, marked the beginning of a very
different era in Taiwans cinematic history, entangled with shifts of
cultural policies and changes in social forces, of which Hou was and
continues to be a prominent figure.
As we have seen in the previous chapters, there has been very lit-
tle English-language scholarship on Taiwan cinema before the New
Cinema.3 Uddens Taiwanese Popular Cinema and the Strange
Apprenticeship of Hou Hsiao-Hsien is a rare exception. For Udden,
certain techniques, such as the quick zoom, out-of-focus objects in the
foreground, inattention to lighting, and unusually numerous camera
setups for a single scene, are the aesthetic norms of 1970s commercial
cinema in Taiwan; Hous early films are no exceptions. Therefore,
Udden concludes, the style of [Hous] commercial trilogy . . . is not
entirely distinguishable from other films of this time.4
I disagree. Even though Hous first three films are indebted to
the existing mode of production, they also challenge the commer-
cial cinema paradigm. If Udden is right that Hous apprenticeship has
allowed the future master to learn his trade, the transition period
had greater significance in the history of Taiwan cinema, I believe,
than what Udden allows.5 And if an aesthetic stasis of change in the
form of generic proliferation characterizes Healthy Realism, a careful
examination of this aesthetics in transition between 1980 and 1982
prepares us for the next set of questions regarding cinematic style in
Taiwans contested national cinema.
* * *
Kenny Bee, a popular singer from Hong Kong and lead actor of Lee
Hsings last two Healthy Realist films, Story of a Small Town (1979)
and Good Morning, Taipei (1980). The story is simple. A young
woman from a rich family residing in Taipei escapes to her hometown
in the countryside before an arranged marriage. A young engineer vis-
its the same town as a member of a highway construction crew. They
meet and fall in love. The woman is then summoned back to Taipei
to meet with her fathers chosen son-in-law-to-be, but the engineer
does not give up pursuing her, which results in a few comic sequences
before the lovers reunite. There is yet a final obstacle for the young
couple: the womans father insists that she be betrothed to someone
with a comparable family background, which means, of course, equal
social status and financial affluence. Without much prior hint, the
young mans father is revealed in the last minute to be no less wealthy
than the womans.
All problems thus solved, the final scene shows the couple, the wife
now pregnant, back in the countryside by the giant tree where they
first professed their love. In an extreme long shot, the couple embraces
under the tree with the lush rice fields stretching into a mountain
range in the distance. A bright red title appears to address the audi-
ence directly by wishing them a happy Chinese New Year, an ending
befitting the raison dtre of the film: an entertaining piece produced
for the holiday season6 (Figure 2).
The film was a box office success, profitable enough to allow for
Hou to direct two more similarly commercial films before making his
breakthrough in 1983 with Boys from Fengkuei, immediately pre-
ceded by His Sons Big Doll earlier in the same year.
I want to stay with this final shot a little longer, and, indeed, the
film itself stays with it for several seconds more. As the happy couple
slowly makes their way out of frame, the red title also disappears.
What remains is the beautifully composed image, a still as it were,
without human subjects or extradiegetic titles, of Taiwans rural land-
scape (Figure 3).
It is a familiar scene; we have seen variations of this image in many
films before 1980 and will see many more later. Healthy Realism in
the previous two decades established a cinematic space within which
a diversity of genres on screen displayed a stunningly consistent set of
dialectical relationships: sociopolitically, between city and country;
thematically, between family and nation; and aesthetically, between
on-location depictions of physical reality and soundstage reconstruc-
tions that combine different degrees of physicality into a total effect
Figure 2 Lovable You, Hou Hsiao- Hsien, 1980.
* * *
Men at Work, Children at Play
The representation of labor has often been a tacit requirement of
Healthy Realism. The hardworking highway construction crew in
The Road and the diligent duck farmers in Beautiful Duckling are
but two examples that showcase the act of working. The physical per-
formance of labor on screen guarantees the subjects status as a pro-
ductive citizen. By contrast, play is a rare occasion permitted mostly
to children, normally brief and always tucked into some insignificant
narrative pockets. In Hous first three films, however, childs play
comes in prominently. Lovable You features a group of young children
whose omnipresence on screen is striking. Even during the scenes of
the young lovers courtship, a narrative space formerly reserved only
for heterosexual romance, particularly in Qiong Yaos melodramas,
the children in Lovable You are their oddly inseparable companions.
Hous next film, Play While You Play, further emphasizes childs
play, albeit with an interesting twist. Again starring Feng Fei-Fei and
Kenny Bee, the film begins with the former walking around a seaside
village, apparently as a tourist who photographs the fishing village
and its fishermen at work. Several other characters, also visitors from
the city, are introduced, whose presence is again not explained. As
the credits roll, we see one character urinating on the wall of an old
military guard station by the beach, now deserted (Figure 4).
Feng slowly makes her way toward the man, who quickly finishes
his business, just in time before Feng joins him, and together they walk
off frame. What remains on screen is but a sign stating, Photography
Prohibited (Figure 5).
Almost like an inside joke or a sight gag, this sequence references
and pokes fun at the prohibited practice of photographing the coast-
line in the name of national security. It does so precisely by having
the area photographed twice: by the diegetic characters and, before
that and always already, by the cinematic apparatus. We may here
recall the final image of Lovable You when the screen is cleared of
human subjects and the cinematic image becomes enriched with a
material rawness previously hidden, or at least obscured or distracted,
by the actors presence. Different and particularly noteworthy in this
Figure 4 Play While You Play, Hou Hsiao- Hsien, 1981.
perfect dung, the frustrated director asks the prop master to find
the real stuff, which in turn occasions a comic scene when the reluc-
tant production team member chases after and pleads with a cow,
aiming a bucket at its rear. Play, scatological or otherwise, is thus
transformed into work, and playfulness into a commodity for con-
sumption, thereby self-reflexively unraveling previous realist films
concealment of artifice. One may say, therefore, the playful opening
of Play While You Play exposes that aestheticsstyle, artifice, film,
and filmmakingto be the real stuff of cinematic realism; the cinema
is not the reality captured and presented, but rather, always and first
and foremost, representation through and through.
Film style is a key element which would eventually take center
stage as soon as the New Taiwan Cinema movement commenced.
Critics often comment on Hous exquisite use of long takes. Udden,
too, notes the prominence of childs play in Hous early films as the
result of the directors conscious effort to enhance the child actors
performance by allowing them to improvise; that is, to do their work
by playing. This practice results, Udden continues, first directly in the
necessity of longer takes and then indirectly in Hous other privileged
stylistic choices in his later films.9 That granted, I nevertheless see
far greater implications in the turn toward an aesthetics driven by
the relentless desire to document not only what unfolds in front of
Hou Hsiao-Hsien before Hou Hsiao-Hsien 97
* * *
first three minutes of Green, Hou deftly introduces the child actors who
are not marginal or merely functional, but central to the film. During a
typical school day, scores of children make their way to the daily morn-
ing flag-raising ceremony. Many inventive and spontaneous activities
take place; in one case, a group of kids races a train as it comes out of
a tunnel, and, in another, a boy twirls his water bottle on a bridge only
to lose hold and send it into the river while his older sister watches dis-
approvingly in the background. Most strikingly, when the school bell
tolls, a medium shot shows a childby now a familiar face, as he is the
main child actor in He Never Gives up, Lovable You, and Play While
You Playhastily wolfing down breakfast. The scene cuts to a medium
long shot when the kid rushes out of the house to the insistent ringing
of the bell. The child runs toward the camera, making his way down
some stairs, and, instead of a cut, the camera pans as he runs down
even more stairs, and slowly recomposes into a long shot of the schools
athletic field, where many students have already gathered in formation.
As the child runs off the frame quickly, the visual field suddenly shifts
its visual weight to what was previously its background, all within one
take: from a medium shot of the single child to an extreme long shot of
the entire school field, only to be rejoined by the child appearing from
the lower left corner as he rushes to make it to the required, patriotic
ritual that starts a normal school day (Figures 811).