In mid-April this year (2020), two heavyweight Taiwanese film critics passed away. One is Huang Ren, a film historian who started as a newspaper reporter, kept writing, wrote books, and left precious records for every page of Taiwan's film development. Anyone who has been exposed to the subject of film studies in Taiwan will not It is possible to skip this name; the other is Jing Xiang, a veteran film critic who has crossed the identities of translators, poets, artists, and comrades. In this issue of "Screening Weekly", we would like to thank the Taiwan Film Critics Association for their assistance in inviting film critics Chen Weizhi and Dan Tangmo to write "About the history of Taiwanese film, he cares, he remembers, and he keeps it too - Miss Huang Ren In the two articles, "Our Slasher Life - Remembering Brother Jing Xiang, the Film Critic", they shared the two seniors in their eyes. The article not only remembers the close personal perspective, but also observes and sorts out the times, so as to commemorate the rich legacy left by the two advanced film writers. There was an era long, long ago: a closed, taboo, authoritarian, repressive society. Everyone still loves art,
and loves to watch movies, although they may not see many movies, they may be selected, they may be cut into pieces, and they may not keep up with the world's trends. But none of this can stop the heart of watching the movie. In that faraway Taiwan, as long as a certain master movie or art classic appears in the theater, it will be cherished as a treasure, watched and written hard. People who are eager to watch movies break through in a resource-poor environment, that is the first generation to watch movies/love movies hard... Then Taiwan has "Theatre", "Influence" Wedding Photo Editing magazines, about movies/arts Comments, interpretations gradually began to appear! Brother Jing Xiang, a poet/writer/translator/film critic, grew up in such a turbulent age—the first generation to write and study films hard. Brother Jing Xiang is a film critic of the post-war generation. Compared with more senior Taiwanese film critics, Jing Xiang's generation grew up in Taiwan, has a complete education, has his own ideas, is willing to accept new ideas and attitudes, and has the courage to follow. Authority against choke. Before the emergence of new Taiwanese films, Taiwanese film critics seemed to be still wild and ready to go.
Important directors such as Yang Dechang and Wong Kar Wai are sometimes regarded as aliens. The film critics of Jing Xiang's peers, with limited resources, contributed to the new film in Taiwan. Jing Xiang once strongly supported films such as "Little Bi's Story", "Child with a Sword", "Rapeseed" and other films in film reviews, and he also played a role of guiding and cultivating movie audiences invisibly. Gradually, the Golden Horse Film Festival appeared, videotapes became popular, and there were movies to watch on TV, and a new era of film writing began. In the past, it was not like now, as long as the Internet is in hand, everyone can speak. Imagine a time when there were only a few newspapers and media in the past, there must be not many places to write film reviews, it must be a rare opportunity, and it must be a few spaces for readers/audiences to obtain movie reference indicators. A good film review should have objective reviews and subjective personal views. In the 1980s, Brother Jing Xiang wrote a movie column "A Movie for Everyone to Watch" in China Times, and asked a number of film critics to rate the film from one to five points. This should also be the first film review program in Taiwan's film review culture that everyone will rate together, providing film ratings to the public based on more objective standards. It is said that if the rating is too low, the industry will come out to protest, which shows that the influence at that time must be considerable. Zhan Hongzhi, a media culture person, once mentioned in the article: "The million people w