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▶️▶️ 現在觀看 ➥➥ https://tinyurl.com/y3x4dhwv WATCH [eng]sub➥➥ https://tinyurl.com/yy5f467u
缉魂的剧情简介 · · · · · · 作品的“角頭”安排不斷提醒著“目前的公眾pen悔，即將到來的人們無法記住”和“不可能的憎惡之路”的說法。另外，“角頭曲折”從淑女和愛情的角度切入，讓人們從另一角度看到這個喧鬧的交投世界。
A Qing：“個人無法在田間自救。我沒想到晚上會墜入愛河...”
曉琪：“在對水道和湖泊中的人進行抗議之後，我知道崇拜非常困難，令人不快。”
故事的故事是在北廊道，一個大姐姐仁碩的小女孩的滿月盛宴上，講述了阿青的故事（鄭仁碩飾演），並體驗了攝影家小琦（謝心穎飾演） ），這決定了一個愛情故事，但至今仍無法保持在一起。
當阿青遇到一個小牛角時，兩個最初彼此不一致的人發現他們真的最在乎彼此。阿慶和小琪變得無可救藥地迷戀，彼此認識，彼此珍惜，彼此擁護。阿慶為小琪解決挑戰，小琪遇到了阿青的職業瓶頸，就支持了他。無論如何，就在現在，無論如何，萬灣的宇宙在背景中勾勒出北關毒品交易，這使北關陷入了緊急狀態，但是任戈和五隻老虎漸漸誤解了阿慶，鑑於阿慶青人的象徵需要能力，並在從中受益後選擇進行激烈競爭。
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愛不可失| Recipe for Happiness | 2021-02-05 片 長：01時32分 發行公司：車庫娛樂 導演： 尹在元 演員： 孔明(Gong Myung) 、 朴素珍
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cinema taiwan
is profoundly established in the island's exceptional history. Since first experience with Taiwan in 1901 under Japanese standard, film has created in Taiwan under ROC rule through a few unmistakable stages. It has likewise evolved outside the Hong Kong standard and the control of Individuals' Republic of China in the territory.
The primary film was brought into Taiwan by Toyojirō Takamatsu (高松豊次郎; see 高松豐次郎) in 1901. Taiwanese film was the first, and from 1900 to 1937, quite possibly the most significant of Japan's pilgrim film markets during the time of Japanese standard. In 1905, Takamatsu brought 10,000 Japanese yen up in gifts to the Japanese military from the returns of movies screened in Taiwan about the Russo-Japanese War. By 1910, the Taiwan Frontier Government composed the endeavors of free movie producers, for example, Takamatsu and others to build up a more coordinated way to deal with the creation of film in the settlement of Taiwan. Movies assumed an imperative part in empowering the bigger pioneer undertaking of imperialization or social digestion of Taiwanese subjects into the Japanese realm. The main quiet movie delivered in Taiwan was A Prologue to the Genuine State of Taiwan, a publicity narrative that Takamatsu coordinated in 1907.[3] Takamatsu noticed that early movies were created generally for Japanese crowds instead of for nearby Taiwanese. Consequently, early movies would in general be instructive in nature, commending Japan's modernizing presence on the island. Different movies took into account Japanese crowds fascinating cravings for Taiwan as a position of experience and peril, for example, Overcoming Taiwan's Local Radicals (1910) and Saints of the Taiwan Eradication Crew (1910).[4]
Numerous shows in Japanese movies were received by the Taiwanese producers. For instance, the utilization of a benshi (storyteller of quiet movies), which was a vital segment of the film-going involvement with Japan, was embraced and renamed piān-sū by the Taiwanese. This storyteller was totally different from its comparable in the Western world. It quickly developed into a star framework yet one dependent on the Japanese framework. Indeed, individuals would go to see exactly the same film described by various benshi, to hear the other benshi's translation. A sentiment could turn into a parody or a dramatization, contingent upon the storyteller's style and abilities. Lu, a popular entertainer and benshi in Taiwan composed the best reference book on Taiwanese film. The principal Taiwanese benshi ace was a performer and arranger named Wang Yung-feng, who had played consistently for the symphony at the Tooth Nai Chime Theater in Taipei. He was additionally the writer of the music for the Chinese film Tao hua qi xue ji (China, Peach young lady, 1921) in Shanghai. Other renowned Taiwanese benshi aces were Lu Su-Shang and Zhan Tian-Mama. Lu Su-shang, isn't essentially associated with his benshi exhibitions, yet chiefly for composing the incalculable history of film and show in Taiwan. The most celebrated benshi of everything was conceivably Zhan Tian-mama, whose story is told in a new Taiwanese historical film, Walk of Satisfaction (Taiwan, 1999, dir: Lin Sheng-shing).[6] Benshi aces as often as possible were educated people: many communicated in Japanese, frequently made a trip to Japan as well as China, and some were writers who composed their own lyrics for each film. From 1910, films began to be circulated with a content, however the benshi regularly liked to proceed with their own translations. Striking movies during this period incorporate Melody of Bitterness (哀愁の歌, 1919), The Eyes of Buddha (仏陀の瞳, 1922), and Whose Misstep? (誰の過失, 1925)
Not at all like Japanese-involved Manchuria, Taiwan never turned into a significant creation market for Japan but instead was an indispensable display market. Japanese-created newsreels, shorts, instructive, and highlight films were broadly circled all through Taiwan from the mid-1920s through 1945 and even after decolonization. As in Japan's other frontier film showcases, the Second Sino-Japanese Battle in 1937 denoted the start of a period of upgraded preparation for the Japanese war exertion all through Asia and Taiwan's film markets were cleansed of American and Chinese movies therefore. The Japanese endeavored to change local people into Japanese residents, giving them Japanese names, Japanese schooling, urging them to wear Japanese garments and the men to trim their long hair. Movies, for example, Japanese Police Manage a Taiwanese Town (1935) delineated how “legitimate” supreme subjects should dress and go about just as advancing their boss cultivating abilities because of the Japanese overlords.Taiwanese chiefs would strikingly return to the tradition of this cycle of social extension in such movies as Hou Hsiao-hsien's City of Misery (1989) and The Puppetmaster (1993), just as Wu Nien-jen's An Acquired Life (1994) By the early 1980s, the popularity of home video made film-watching a widespread activity for the Taiwanese. However, the Taiwanese film industry faced serious challenges, including the entry of Hong Kong films into the Taiwanese market. In order to compete with Hong Kong films, the CMPC began an initiative to support several fresh, young directors. In 1982, the film In Our Time (1982), which featured four young talented directors (Edward Yang, Te-Chen Tao, I-Chen Ko, and Yi Chang), began what would be known as the rejuvenation of Taiwanese cinema: the New Taiwanese Cinema.
In contrast to the melodrama or kung-fu action films of the earlier decades, New Taiwanese Cinema films are known for their realistic, down-to-earth, and sympathetic portrayals of Taiwanese life. These films sought to portray genuine stories of people living either in urban or rural Taiwan, and are often compared stylistically to the films of the Italian neorealism movement. This emphasis on realism was further enhanced by innovative narrative techniques. For example, the conventional narrative structure which builds the drama to a climax was abandoned and the story progressed at the pace as it would in real life.
Due to its honest portrayal of life, New Taiwanese Cinema films examined many of the important issues facing Taiwanese society at the time, such as urbanization, the struggle against poverty, and conflicts with political authority. For instance, Hou Hsiao-hsien's A City of Sadness portrays the tensions and the conflicts between the local Taiwanese and the newly arrived Chinese Nationalist government after the end of the Japanese occupation. Chen Kunhou's 1983 film Growing Up provides a nuanced perspective on the experience of a very young boy, from an ordinary family, getting into progressively more trouble. Edward Yang's Taipei Story (1985) and A Confucian Confusion (1994) talk about the confusion of traditional values and modern materialism among young urbanites in the 1980s and 1990s. His nearly four-hour film A Brighter Summer Day (1991), considered by many to be his masterpiece and the defining work of the New Taiwanese Cinema, deals with Taiwan's struggle in the 1960s to find its identity after the Kuomintang took control of Taiwan and brought numerous Chinese immigrants to the new republic, who expected to return to China once the Communists had been defeated.[10] The New Taiwanese Cinema films therefore create a fascinating chronicle of Taiwan's socio-economic and political transformation in modern times.