Taiwanese Essay: "In the Car" Feelings of getting off the bus

I haven't read Taiwanese literature for over a week. I don't have a horrible face. I'm too busy with work to take on 228 and the White Horror. "The White Portrait" is on the bookcase. I don't want to read "The New History of Taiwan Literature". Go to "In the Car" .

The roommate didn't like it. He said that many things didn't end well, like glaucoma. He also said that the part where Takatsuki and Kafu talked about the sound was not realistic enough. The hotel was very close, so why did the conversation take so long. I tried to rehabilitate it, and I thought proudly in my heart, "I can't understand it, but I'm too embarrassed to say it's bad." In short, in order not to fight, I finally said that the movie is very subjective, maybe it's bad. Just like my attitude towards coffee, you can hate the fruity aroma and say it's unpleasant, but you can't say that fruity coffee is bad, one can still learn to pull away from the evaluation: "In the Car", whether it is a dish or not, is definitely a good movie.

The most wonderful thing is Hamaguchi Ryusuke's ingenious image associations. The first performance in the theater was "Waiting for Godo", which hinted at the opening of Jiafu's desire for redemption, and then borrowed the lines of "Uncle Vanya" to set off the plot layer by layer; Bridges, roads, elevators, car ladders, all of which no longer emphasize in-between and escape, because there is nothing to do and do nothing to escape, and at the same time expect sudden redemption, the tension of the drama is not in the plot, but between the escape and the desire for redemption pull. The concept is easy to talk about, but the execution is very difficult. This movie is not only done well, but also very stylish. Perhaps the imagery of moving mirrors and cars, bridges, roads, etc. is learned from Director Hou and Director Yang, or many languages are performed in theaters. Following the cross-cultural theater school, however, when the content, technique and form are balanced, everything is the director and the team.

When I didn't read Taiwanese literature, I was fascinated by various symbols for no reason. Read "Hundred Words of Chinese Characters" , see how Chinese characters are generated from the divine authority of the emperor (divination), read "A Study of the Twelve Houses of Astrology" , see how to interpret one's own astrological chart, and how to translate myths and stories in later generations, read "Common sense statistics" " , see the author's example of people's desire for order (data) hearts, and thus deceived stories. Reading and reading, there is an illusion that these symbols have evolved from witchcraft to consolidate the regime to arty manipulation of power with the times, and everything has both positive and negative sides. At the same time, in the process of collective to individual, everyone begins to have the right to speak.

During my escape from Taiwanese literature, what I learned the most was actually on the astrolabe. People's self-understanding starts from the 1st house (self) and goes around the 12th house, and eventually returns to the self. Just like in the "Literary Spring and Autumn" I watched when I was going to the toilet, the author asked "What is Taiwanese culture?", or "In the In the Car", "Can I be redeemed?" These questions are summarized in an essay written by Lin Wenyue in "Character Sketch" . A doctor who has saved countless lives asked himself when he was old and died of illness: Why do people have to live? Woolen cloth? Since it will eventually die.

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