Another type of relation interested Wong and Tsai is the family relation, but I would consider Wong view family relation higher than Tsai as almost every family in The Fallen Angles are directly presented. Wong tries to film a change of family construction into a new family model. In Ho’s family, it shows an incomplete family where there is an absence of the mother. Sato’s family is a family where its members do not live together, so Sato cannot celebrate his son’s important birthday. Yet the film’s passion lies on its suggestion of possibilities – Sato may go back Japan one day to reunite with his family as said in the videotape. The film also shows a traditional family presentation – Ho’s customer. In his family, three generations live together
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Wong is interested in exploring the beautiful side and unique of Hong Kong while Tsai loves to show the truth side of Taiwan. Wong explained in a movie conference that he tried to keep the HK’s lifestyle that would probably disappear in the near future (Lalanne 12). We are being shown the old district Wan chai but not tourist sites like Tsim Sha Tsui. In Wan chai, there are gambling houses that apart from the routine consumerist quality of HK. Even in the MTR, it becomes an empty public space that is far away from our general impression of Hong Kong as an overcrowded and fast-paced city. To see a city is not just limited to one way, the audience is allowed to see a different side of Hong Kong. Wong also adopts post-modern approach by using popular culture. We see famous stars likes Leon Lai and Michelle Lee sit in the bar and listen to popular Cantopop music “Forget him” by Shirley Kwan. Here I suggest that Wong shows his high appraisal to Cantopop, which also makes his films much easier to be accepted. Tsai is not interested in this. He takes a high art approach in shooting. Apart from the wide angle and long takes we have discussed, Tsai is passionate in silence. The audience can hear the sound from the air-conditioner, the yelling from other hawkers around Jung or even the sound from the stapler when Hsiao is clipping his name cards. This reminds me of the Antonioni’s films again: music is only to construct the narrative, but do not command the audience what they need to feel on the scene (Testa 52). The music is just there. In a way, the emotion is immersed into the silence of everyday life, which supplement realism in his
Wong is interested in exploring the beautiful side and unique of Hong Kong while Tsai loves to show the truth side of Taiwan. Wong explained in a movie conference that he tried to keep the HK’s lifestyle that would probably disappear in the near future (Lalanne 12). We are being shown the old district Wan chai but not tourist sites like Tsim Sha Tsui. In Wan chai, there are gambling houses that apart from the routine consumerist quality of HK. Even in the MTR, it becomes an empty public space that is far away from our general impression of Hong Kong as an overcrowded and fast-paced city. To see a city is not just limited to one way, the audience is allowed to see a different side of Hong Kong. Wong also adopts post-modern approach by using popular culture. We see famous stars likes Leon Lai and Michelle Lee sit in the bar and listen to popular Cantopop music “Forget him” by Shirley Kwan. Here I suggest that Wong shows his high appraisal to Cantopop, which also makes his films much easier to be accepted. Tsai is not interested in this. He takes a high art approach in shooting. Apart from the wide angle and long takes we have discussed, Tsai is passionate in silence. The audience can hear the sound from the air-conditioner, the yelling from other hawkers around Jung or even the sound from the stapler when Hsiao is clipping his name cards. This reminds me of the Antonioni’s films again: music is only to construct the narrative, but do not command the audience what they need to feel on the scene (Testa 52). The music is just there. In a way, the emotion is immersed into the silence of everyday life, which supplement realism in his