| Summary: | 碩士 === 國立臺南藝術大學 === 動畫藝術與影像美學研究所 === 106 === Wan Jen rose in Taiwan New Cinema. The third paragraph of "The Sandwich Man", "The Taste of Apple", which was filmed in 1982, triggered the famous "the Apple-Paring Incident" and laid the foundation for his film work with some critical tone. In Wan Jen’s film, there is a clear attempt to reflect on how to live as a Taiwanese, and to reflect the political problems in society. These problems will arise. The author hopes that through the time course of colonial modernity, re-colonization and post-colonial proposed by Taiwanese writer Chen Fang-Ming, the author explains the "Super Trilogy" in the country from the Japanese rule, the Kuomintang government's martial law period, to the martial law. They are all "control" issues and political intentions of the state. When Wan Jen faced the problem of state control, how he told the story through the film.
The topic of concern to the "Super Trilogy" is the current Taiwanese society. The first chapter analyzes the life situation of the people at the bottom of Taiwan by analyzing the life of Wan Jen and the colonial modernity of Chen Fang-Ming. In the second chapter, Super Citizen (1985) is still under martial law. Wan Jen avoids serious economic and social resettlement through comedy and ridicule. The third chapter talks about the Super Citizen Ko (1995). Although it compares Hou Hsiao-hsien'sA City of Sadness(1989) and Wu Nien-Jen 's A Borrowed Life (1994) and other Taiwanese films, it discusses the time of the Kuomintang's colonization, but Wan Jen is also try to solve the problems of historical modernity through the means of "seeking the roots". The fourth chapter of Connection by Fate (1998) is developed by sub-themes such as ethnic groups, ghosts, and ruins. From the perspective of disintegration, it is a post-colonial issue. It is found that the issue of home is in Connection by Fate nonexistent. Formally, Taiwan got rid of Japanese colonial rule during the Kuomintang government, but did not really end the political oppression and economic exploitation brought about by past martial law. Therefore, it is obvious in Wan Jen’s film that Taiwan has not yet established a truly equal and democratic state relationship.
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