Female Voice in Hou Hsiao-Hsien's Cinema

• Main Authors: LO, YING-HUI, 駱穎慧
• Other Authors: LO,WAI-CHUN
• Format: Others
• Language: en_US
• Published: 2019
• Online Access: http://ndltd.ncl.edu.tw/handle/4u2b78

碩士 === 國立臺北科技大學 === 應用英文系 === 107 === The female voice serves as one of the most important elements in Hou Hsiao-hsien’s cinema, especially Daughter of the Nile (1987), Good Men, Good Women (1995), and Millennium Mambo (2001). In Daughter of the Nile, Hsiao-yang’s story can only be heard through the statement in a police office while the female voice is managing to penetrate the patriarchal power. In Millennium Mambo, the female voice uses “she” instead of “I” to tell her story, or rather a story about the collective womanhood in millennium Taiwan. In Good Men, Good Women, it is the ghostly female voice that connects the pieces of fragmented time. Based on Julia Kristeva’s Women’s Time, Barbara Claire Freeman’s theories of the feminine sublime, this paper concludes that Good Men, Good Women creates a feminine sublime. Step by step, this paper contends that the diverse and revival female voice connects women’s history with personal history, national history, and world history.