| Summary: | 碩士 === 國立高雄師範大學 === 美術學系 === 102 === If regard Cinema as a art work of the Director, we will find the form of musical film in“The Hole”（1998)、“The Wayward Cloud”（2004) and “Face”（2009） of Tsai Ming liang. Tsai Ming liang favorites golden oldies be used in his work. Movie protagonist reproduces and mimics the old musical film by lip syncing to the singer. This thesis focuses on the work of Tsai Ming liang, suggests a theoretical approach based on Bakhtin’s polyphony theory and carnival theory.
The thesis is divided into three parts: 1）For connect Literary Theory with Visual Arts, I refer to the carnival theory with Hieronymus Bosch’s “The Garden of Earthly Delights” , then discover the “heart print” –the logic of the “The Wayward Cloud”. 2)By Chao Meng-fus’s “Autumn Colors on the Chiao and Hua Mountains” comprehend the polyphony in The “Hole”. 3) Analysis several parts of narrative in the “Face” with Li Song’s “Puppet Play of a Skeleton ” that are variation with Tsai’s work .
This research takes Bakhtin’s theory to confer Tsai’s “heart print”. We not only experience the “heart print” of the Tsai’s, but also come to understand more precisely the style , and the relation with the musical film. When identify cinema with creative experience, we could distinguish from “Post-Taiwan New Cinema” films.
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