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RISS 인기검색어
- 검색키워드
- 저자 : Tsai Pei Hsuan (검색결과 1 건)
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A comparative analysis of two taiwanese documentaries : unlucky number and twelve nights
Tsai Pei Hsuan Hongik University, Graduate School 2019 국내석사
In 2015, Taiwan amended a law in Animal Protection Act, trying to halt the law that permitted euthanasia to be applied if stray animals remained in animal shelters over 12 days; it had still not been adopted by 2017. The amendment was promoted by a Taiwanese documentary Twelve Nights, which was released in 2013 and struck a chord with Taiwanese society, even indirectly affecting the amendment of the Animal Protection Act. A new Taiwanese documentary lists many outstanding ecocinemas; Green Team produced several documentaries dealing with the environmental movement in the 1980s. T.V. Reed classified ecocinema ecocriticism into five categories: Conservationist ecocriticism, Ecological ecocriticism, Biocentric / Deep ecocriticism, Ecofeminism ecocriticism and Environmental justice ecocriticism. Based on the article The development of Taiwanese documentaries on environmental issues, written by Taiwanese ecocinema director Ko Chin-Yuan and published in his blog in 2013, ecocinema can be classified into: Record of environment, Environmental movement, Protests against nuisance, and Custom and tradition. The two documentaries analyzed in this study focus on the stray animal issue in Taiwan, therefore they fall under Record of environment documentary in accordance with Ko’s classification. The two documentaries analyzed in this study: Unlucky Number (2011) and Twelve Nights (2013) were produced in the same social background, and deal with the same issues: stray animals and animal shelters, along with the techniques and aesthetic elements applied in the documentaries. The similarities and differences are also the focus of analysis. The point of view in the documentary is another subject of analysis, including techniques applied to support it. The kinds of aesthetic elements used in the films are still another point to be focused on. To take Unlucky Number as an example, director Liao Ching-Yiao tries to tell the story from the aspect of stray animals instead of humans. The aesthetic techniques he applied in order to make the audience think from another perspective are also a concern in this study.
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