There are various elements that are common to those across the most diverse social and cultural divides. Life, death, and human struggle are all essential aspects of human existence. This is evident in the film “Yi Yi: A One and a Two”. Written and directed by Edward Yang, the film gives an account of the various struggles that a multi-generational family goes through in modern day Taiwan. These struggles indicate the underlying challenges that can be seen to be experienced across both generational and cultural divides. After the events of the Chinese Civil War, one contending side of the Chinese government, the Republic of China, moved to Taiwan as the People's Republic of China, led by the communist ideologies, gained control of the mainland. After decades of authoritarian rule, the ROC government adopted democratic policies which opened the doors to western ideologies. At this point, their culture began to diverge significantly from the past as Taiwan began to see a great deal of urbanization. The film explores the lives of three generations and those that they are associated with. The father, NJ, his youngest son, Yang-Yang, and his teenage daughter Ting-Ting are the major focus of the film and demonstrate the different perspectives in how such challenges might be faced. Lost potential and yearning to understand the underlying purpose of life are evident within the film, which explores these ideas through the lens of these individuals. In looking at the essence of film-making and its underlying capacity to promote specific social and cultural values and present questions that are relevant to the context of viewers it is evident that there are specific concerns and issues that can be seen to be reflected within their depictions.
The power of film is evident in the impact that it has on the identities of those that view them. These identities are generally reflections of the viewpoints that are presented in the films themselves and demonstrate how ideas can be communicated in various ways. Film can be seen as “an effective medium for communicating and representing identities on many levels” (Rawnsley 89). This can include personal, regional, national, cultural, social, and political levels of understanding. This demonstrates how film can reflect the underlying history of a people or culture without actually expressing these backgrounds. In doing so, the language used in films can often present various important pieces of information regarding the historic legacies of those that they are depicting. “Language may evoke a sense of nostalgia or hostility, enhance regional flavour or promote national unity, or create intimacy or distance, for various linguistic communities and for different reasons” (Rawnsley 89). The use of film in this sense depicts life after the Chinese Civil War in Taiwan and the growing western attitudes that have crept into the lives of the people that are portrayed. The growing urbanization present in the film demonstrate the pronounced social changes and the underlying conflicts that are going on between eastern and western attitudes. Looking at these films and their purpose can therefore “illuminate the cinematic strategies adopted by filmmakers to reflect identity politics in different contexts” (Rawnsley 105). This presents the capacity of film in demonstrating the underlying values of a society as well as the issues and cultural conflicts and values that they are struggling with.
Looking at the style of film itself presents evidence of the underlying tensions that are inherent in its context. This film is evidence of a movement known as “New Cinema”. This artistic movement was established on the notion that the realities of people's experiences should be represented in films. While these were a radical departure than many of the characterized “by a focus on serious subject matter” they were also able to “meaningfully engage in the issues of Taiwanese identity” (Kanji 3). The film demonstrates these struggles in the depictions of NJ and his conflicts of choice regarding himself and his family. Furthermore, the choices that are presented to his children and other relatives demonstrate the underlying conflicts that can be seen in Taiwanese culture as western attitudes and values are beginning to overtake their traditional cultural realities. Yi Yi therefore demonstrates “films concerned with discussing Taiwan, its social issues, [and] shared history” (Kanji 3). This shared history can be seen as coming into conflict with the traditions that they encounter. This is, in a sense, a direct reflection on the ideologies presented by the Chinese Civil War and the encounters that tradition and modernity had with culture and social identity. These elements seem to present an inherent conflict within the national character of the Taiwanese people as they begin to struggle with how to coexist with their shared heritage and the advancement of the modern world. These encounters can, it seems, often end with devastating results, as the family coping with a mother in a coma seems to split up as different people react in different ways. The film can therefore be seen as “a discussion of various issues plaguing the creation of Taiwan’s national personality” (Kanji 7). As different people encounter these realities with different perspectives they react in different ways that can unfortunately serve to isolate them from one another. This seems to be a profound issue in relation to the modern developments of national cultural identities as they come into conflict with tradition.
These changes are evident in the dramatic changes in the way that people in eastern societies live as they become more western-minded. In Taiwan culture, much like western culture, there is a profound value placed on the value of urban culture. In this sense, there is an obsession with “metropolis and actively pursuing the myth of urbanism” (Tung 235). This is presented in the film as being the root of many of the problems and challenges that are faced by the individuals being depicted. Their struggles represent a profound disconnect between their personal identities, their relationships with one another, and society as a whole. These challenges have ultimately resulted in the development of a new cultural identity which has been depicted in the new form of cinematic that are being presented in Taiwan. Yang can be seen as one of those influenced by these changes. “One of the most important characteristics in the Taiwan New Wave Cinema is that most directors worked from their personal experience in the early stages of their careers” (Tung 238). Edward Yang, who grew up in Taipei, reflects his understanding of both the dark and light sides of urban life in the creation of the film. While the film focuses on a variety of important lifelong and moral decisions there are also elements of humor that demonstrate the humanity of those that are being portrayed. The divides between traditional culture and modern western values can be seen to clash within the film. “Yang successfully portrays the struggles between tradition and Westernization” (Tung 241). The film demonstrates the underlying struggles that the family has gone through as these profound political and economic changes have impacted them on a personal level. These dramatic upsets have essentially altered the underlying cultural values and the way that those within society view themselves and their places in society. The film therefore “underscores the sense of loss in the busy, sometimes chaotic city life, which oftentimes have an effect on our perspectives” (Tung 242). In doing so, it sheds light on the concerns and challenges that face those in traditional cultures as they encounter the approach of forces such as modernization and globalization. The film by Yang therefore expresses the challenges that are faced by society in the face of such drastic developments. The values and identities expressed in the film demonstrate the underlying values and identities that are altered in the face of modern realities.
There are a variety of dramatic changes that have happened throughout the last hundred years. The twentieth century demonstrates a point at which a variety of traditional cultural values and ideologies were fundamentally altered for various reasons. The events of the Chinese Civil War, which lasted until after the end of World War II, had a profound impact on the political and social landscape of both China and Taiwan. After the defeat of the ROC by the PRC the developments that occurred in Taiwan present a significant shift in the way that the country was run. After decades of authoritarian rule and scrutiny from western sources, Taiwan would eventually adapt to the changing economic and political climate of the world and open their government to democratization and urbanization which would have profound consequences on the way that people in society would view themselves. As the importance of social and corporate lives began to significantly alter the values and personal identities of those in Taiwan, the struggle to cope with the challenges of family and personal happiness became increasingly important. Within the film “Yi Yi”, Yang presents a depiction of these struggles as NJ and his family attempt to deal with the challenges of modern life. In viewing this film, the importance of family, especially within the rapidly increasing pace of growth in the modern world, becomes blindingly evident. The struggles and personal challenges depicted in the film can be understood in regards to the historic context in which the nation of Taiwan exists. The need to develop personal identities and to communicate and create deeper personal relationships is evident within he film. These are presented as general challenges that are facing those in the modern world. The values and traditions that have been implicit in society for ages have begun to be disrupted in the face of modern movements and shifts in values from being family-based to career-based is shown to have a dramatic impact on the realities of everyday life. The film effectively depicts the struggles that modern people go through in light of the values that are present within industrialized societies and the challenges that those in rapidly changing societies face in developing ways to deal with these challenges.
Works Cited
Kanji, Remi. Taiwanese National Identity as Portrayed in Popular Culture. University of Toronto. 2009. Print.
Rawnsley, Ming-Yeh T. Cinema, Identity, and Resistance: Comparative Perspectives. Taiwan in Comparative Perspective. Vol. 4. 2012. 89-107. Print.
Tung, Larry Ling-hsuan. Rural and Urban Dynamics in Taiwan New Wave Cinema-A Comparative Study of Films by Hou Hsiao-hsien and Edward Yang. Intercultural Communication Studies XVII: 2008. 235-243. Print.
Yi Yi: A One and a Two. Writ. and Dir. Edward Lang. Perf. Nien-Jen Wu, Elaine Jin, Issey Ogata, Kelly Lee, Jonathan Chang, Hsi-Sheng Chen, and Su-Yun Ko. Kuzui Enterprises, 2000. Film.
