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The Daughter of the Nile (1987) and Mambo in the Millennium (200 1) were films made by Hou Xiaoxian in Taipei. The two films were shot nearly 15 years apart, and the film has a completely different presentation to Taipei, an increasingly postmodern and globalized city: The Daughter of the Nile continues the realistic style of Hou Xiaoxian's early works. Through all aspects of the life of the protagonist Lin Xiaoyang (starring Yang Lin), a girl on the edge of Taipei, this paper depicts the face of Taipei in the mid-1960s, when McDonald's and KFC just moved in, Japanese cartoons, idols and pop songs became popular, and education was interfered by politics. Lin Xiaoyang was caught in the middle of all kinds of things, facing what happened to her relatives and friends around her beyond her understanding. The film only interprets the cartoon "Nile Daughter" which she agrees with as a cognitive framework, and at the same time presents the limited vision of the protagonist and the panoramic vision of the director, objectively shooting the people and environment in Taipei at that time; The Millennium Mambo emphasizes the situation and tries to capture the young generation in Taipei at the turn of the Millennium. Taipei, as a geographical space in the film, almost disappeared, replaced by hazy color blocks, fluorescent lamps and smoke in the pub. Taipei has become a psychedelic foreign country, and young people are addicted to drugs, electronic music and bars. In this film, the director gave up the omniscient angle and devoted himself to capturing the subjective feelings of the younger generation, presenting an illusory world of sensory representation, but it still exists.

Lin (200 1) compared the presentation of Taiwan Province provincial films to cities in 1980s and 1990s, and thought that the former could still be understood from the perspective of historical continuity such as development, growth and modernization. In the 1990s, the absolute space of Taipei in movies disappeared, and the sense of wholeness and belonging formed by history and space was disillusioned. Instead, it is the "abstract space" formed by post-modern cities under the control of capitalism. This city is not only a home, but also difficult for people living in it to understand. The performances of Daughter of the Nile and Millennium Mambo in Taipei confirmed this theoretical observation, and the following will state this statement through specific text analysis and comparison. In addition to the different spatial expressions, both films are embedded with multiple times and fantastic time and space. Through voice-over narration and film performance, a time gap is deliberately created, and a dialectical dialogue between music and pictures is formed, but the two approaches are different. This paper will also examine their similarities and differences from the perspective of time, and the possible significance of this time processing.

Daughter of the Nile and Millennium Mambo provide the plot of the film through female dictation throughout the film, and present the urban space and social connotation of Taipei through the life stories of female narrators, but there are similarities and differences in narrative methods. By comparing these two films, this paper will also discuss the relationship between gender and city in Hou Xiaoxian's films.

Two. Tangible and intangible cities

1. Daughter of the Nile

Among Hou Hsiao-hsien's works, Daughter of the Nile is just between the series of juvenile growth and the trilogy of Taiwan Province Province, which has received less comments than other works, and the director himself is not satisfied with this work. Different from the previous movies about teenagers' growth, apart from focusing on women's growth, compared with the previous experience of the protagonist growing up in the countryside, Taipei in the film often becomes a distant other, while Daughter of the Nile directly sets the protagonist's growth background in Taipei. Rauger pointed out that this film can be regarded as a key work that has undergone tremendous changes in Hou Xiaoxian's creative process, spanning the story of childhood and adolescence, leaving behind the past rural scenes and entering the modern urban reality. When discussing Hou Hsiao-hsien's initiation films, Zheng Shusen also pointed out that Hou Hsiao-hsien's treatment of cities and villages often portrayed cities as places full of deception, corruption and exploitation. Compared with the romanticization of childhood and the beautification of the past, the theme of growth and subsequent disillusionment in The Daughter of the Nile are reversed, because no heroine can be used to fight against the pastoral childhood now, only forced materialism, commodity worship and self-alienation, without homesickness. Peggy Chiao believes that The Daughter of the Nile is Hou Xiaoxian's criticism of urban culture, which is presented in an intuitive and implicit way. In addition to the material desires of the characters in the film, she pointed out that the film played an implicit and accurate critical function visually, and the night scene was an important visual metaphor. The gloomy Taipei sky and mysterious and ironic neon lights appear repeatedly and orderly in every paragraph, which is a fading urban landscape. It symbolizes that the wealth and happiness on the surface will step by step go to the dull world, and the teenager, as the spokespersons in the film, Xiaoyang and Xiao Fang are like "orphans on the earth". They tried to identify with social values, but fell into the nothingness interwoven with material and fantasy, and could only accept the result in frustration (1987).

A. Gender and family space

There is no doubt that Daughter of the Nile sharply criticized the city. Observing the film language has many similarities with Hou Xiaoxian's previous works. Rauger (2000) noticed that Hou Hsiao-hsien's usual techniques still exist in the film, such as the repeated appearance of the same scene in different stages of the film, the meticulous carving of multiple scenes, and the dangers brought by uncontrollable events (such as the dog being invaded by socks in the film), among which the sense of oppression and isolation in vision and space was fully exerted in the film. For example, shortly after the film started, Xiaoyang took several montages of his family in succession, as he recalled the narrative and pictures of his eldest brother's death, his second brother's "going to work" because of theft, and his mother's death due to cancer. Most of the shots were covered by the screen, which made him almost breathless. Secondly, from the panoramic view of Taipei, the entrance of the house uses three shots: far, middle and near. This clip is well-defined and almost formulaic, but there are still slight changes, which continues the shooting method of Love Dust from the distant mountains outside the house to the inside. In addition, the moving line is the opposite, from the inside out, overlooking Taipei, and then across the street, into the city.

Inside the house, at the entrance, in the vestibule, in the city center, from near to far, from far to near, Xiaoyang's route with his family comes one after another, which clearly shows the relationship between family space and social space. Even if this family, like Hou Xiaoxian's other growth films, lacks a strong patriarchy-Xiaoyang's father is often away on business, and he can manage his second brother's eldest brother has died-even his mother has died, but her brothers and sisters (Xiao Fang and Xiaoyang) have taken the place of her father and mother to take care of Xiao Wei, who is still in primary school, and in essence have become a family economic unit, the emotional home and base of her family, providing the function of family reproduction. Xiaoyang's home is halfway up the mountain on the edge of the city (toad hill near Taipei mansion) It is an ordinary brick house, an old dormitory area where the water pressure is often insufficient when it doesn't rain in summer. It is "those old houses on Frog Mountain that have been patched with paint and covered with illegal buildings", which shows the military and police identity of Laotaro's father and his family. Although the houses are dilapidated and the roots of the second generation families in other provinces are still very shallow, they are intertwined with their uncles and aunts and have grown a new generation of mixed-race culture.

Judging from the scene scheduling, the square table in front of the house is not only a dining table, but also a desk for my sister to write homework, and it is also the main field for sisters, brothers and sisters, grandfathers and brothers and sisters to interact. There is a thermos bottle on the table, and everything is oriented to function and practicality. Light tends to use natural light to realistically present the situation of Xiaoyang's home. Xiaoyang's room is her personal world, with tatami floor and simple low table. She listened to the radio, kept a diary, Doby dog, combed her hair, listened to music, read comics, was in a daze, and chatted with her best friend, the fat girl, and her second brother's girlfriend, Xiao Fan. Although the space is small, it is a rich and self-sufficient small world. The living room only appeared once in the film. Father was injured and went home to recuperate. After the family dinner, my father and my second brother sat on the sofa watching TV cartoons. At the same time, Xiao fen and Xiao yang go back to Xiao yang's room to comb their hair and chat. This shows the gender power relationship in the family space. As an important public space and power space of the family, the living room generally represents the male power of patriarchal parents, but there is only such a scene in the film. Compared with the dining table (dining table and kitchen are generally classified as female space), on the contrary, it shows that patriarchy has only a symbolic position in this family, and the living room has been ignored. Xiaoyang's interaction with his family is done at the dining table (Miss Sister's table), which is not only due to practical reasons (too busy to go to the living room), but also reflects the "backyard" of women (or vulnerable groups). Hou Hsiao-hsien's empty shot of the close-up of the orthographic mark of the big tree also appeared once in this film. Xiaoyang was empty for a long time after receiving a phone call from his father's gunshot wound. The camera slowly moves and rotates along the treetops, accompanied by noisy cicadas (similar to the empty shot of trees in Childhood and Love Wind) and mysterious and slow Egyptian music, and then the camera is set at the door. We can know this. Judging from the context of the film, the empty shot of the big tree represents the connection with "home". Referring to the use of similar empty shots in Hou Xiaoxian's movies, the empty shots of Dashu have the significance of childhood (she is wandering, winter and winter holidays) and healing (love in the wind). In this film, this shot also has these meanings. The film shows us this. Even if there are many problems, home is still a place where you can go back to dress up and heal (father's gunshot wound) when you are injured (Xiao Fang was injured by theft and went home to dress up in the dark).

B. Cross-border writing of Taipei space

In addition to family space, Daughter of the Nile also revolves around Xiaoyang's life. The space presented also includes her work place (American fast food restaurant), night school, Friday restaurant opened by her brother (pink room), places to play (disco kiss, North Coast), and the street where she rides off-road motorcycles. In addition, through Xiao Fang, we also saw the roofs of apartment buildings, professional casinos, and Taipei residential areas at night (the location of theft); Because of Sam, we saw the Tiangang Western Restaurant and the Danshui River. Basically, these spaces reflect their respective class attributes and cultural qualities in terms of geographical location, scene scheduling and soundtrack given by movies. With the movements of the characters in the film, the characteristics of Taipei as a post-modern city are shown: walking into the bright KFC, young workers are working vigorously and listening to Japanese pop songs; Turning into the alley of the pink room, western jazz and pop songs are flowing out, the lights of the shop "pink room" are flashing pink, and the labels of foreign wines are attached to the walls. Male publicists and female guests dressed in pink are relaxed and laughing, but it is also a place that worries Xiao Fang and has to deal with a lot of troubles. When I come to kiss, disco music rings in my ears, and dancing guests with dazzling lights and flashing figures often present the ballroom from a distance. High-end western-style farming is bright and clean, accompanied by elegant piano light music; As for the street, it belongs to all kinds of users. Yang Lin's Mandarin pop song comes from A San's car. It is worth noting that there is a traffic scene in Taipei with a melancholy theme song "Nile Daughter" in the background. Compared with Yu Xiaoyang riding an off-road vehicle in the city, he looks comfortable and confident, as if he can be temporarily released from the pressure of different roles. The director's interpretation of the streets in Taipei is lyrical and melancholy (although this scene is connected with the live singing in the powder room). As for Xiao Fang's residence in Taipei when he stole, it was completely silent, with unexpected and frightening shouts ("Stop thief! 」)。

Zheng Shusen (1994) pointed out that the background of Hou Xiaoxian's film growth enabled him to reflect the collective memory of Taiwan Province Province in the process of moving from an agricultural society to an industrial economy. The Nile Daughter can be said to be a third world metropolis: the visualization of American pop culture and consumerism, with the "schizophrenic moment" of Taiwan Province's economic development as the background. The heroine in the film works in an American fast food chain. It represents the situation that the young workers of that generation were absorbed into the service industry. The heroine feels alienated, but she can't recognize it, let alone control what happens around her, which makes her more vulnerable and helpless. Zheng Shusen believes that this loss of control is not only a symptom of young people's mental state being torn by the East and the West, but also a sign that the traditional social order and value system cannot be integrated. Many researchers also agree that Hou Hsiao-hsien's Bildungsroman is a national fable of post-war development in Taiwan Province Province. From the perspective of space, The Daughter of the Nile also shows Hou Xiaoxian's attempt to write history for Taiwan Province Province in the mid-1960s. McDonald's and KFC had just entered Taipei, plowing out western restaurants in the east of Taipei, Kiss Disco Pub and bars in the alleys around Zhongshan North Road and Linsen North Road ... These were all important landmarks of Taipei at that time, and Hou Xiaoxian not only recorded these landscapes in this film. Daughter of the Nile presented both Taipei with global capital on the ground and Taipei with rampant underground economy, but the boundary between the ground and the underground was not clear, so Xiaoyangjia crossed this boundary. This family not only has a police inspector's father/thief's son and a thief's brother who punishes his little sister for stealing "schizophrenia", but also Xiao Fang usually runs a shop and steals things at night, while the powder house he and his friends jointly run is illegal under the legal guise. Even the police from the underworld seized the white road ... Hou Hsiao-hsien truly described Taiwan Province in the mid-1980s from people's stories, without criticism. The viewpoint of the film is different between subjective and objective, which not only has sympathy and understanding for human nature, but also makes the audience think about the city and culture we live in like a director.

The Daughter of the Nile writes the history of Taiwan Province Province in a marginal and cross-border position, and the caring level includes class, ethnic group, education, politics and so on. In the film, Xiaoyang is arranged to go to night school, which is also a rare visual picture in Taiwan Province Province. In this place where the value of further studies and prestigious schools depends, night school students are a neglected and discriminated group. Their status is marginal and cross-border (between students and social people). The night school space presented in the film is small and crowded, and they are familiar with the chickens and dogs at home. A group of young people screened by the entrance examination seem to be locked in an iron cage, full of agitation and anxiety, but the shadow of political secrets still lingers-this film, filmed on the eve of lifting martial law, reveals that green outside the party has become a new political taboo, and there is no monitoring and restraint of freedom of thought and speech in the education sector. On the other hand, KFC, where Xiaoyang works, is glamorous and lively on the surface, but it can still be seen from the film language that it is a imprisoned place, or even a more alienated place. When Xiaoyang learned of Sam's death, he rushed into the bathroom with discontent and cried, and then the next scene was cut to the scene of working in KFC. Although she is sad (the soundtrack is the theme song "Nile Daughter"), she can't show it.

On the roof of the apartment, Xiao Fang and Ah San discussed how to deal with the gunshot wound that Ah San was sent by a famous man (Mafia Brother). Thunder sounded faintly in a large cloudy sky, and the camera slowly rolled by, full of dull, uneasy and rainy feelings. On the one hand, it shows the majestic momentum of nature, overwhelming the small human beings, and can respond to Hou Xiaoxian's so-called "photographing people's lives under the operation of natural laws". On the other hand, it is worth noting that when Xiao Fang and A San are discussing on the roof (outdoors), Xiao Yang is writing a diary in the room (this is also after Xiao witnessed A San being shot), and his expression is worried. This contrast reflects the gender differences between men and women in space experience. Although in Taipei, men and women experience different Taipei, similarly, class and ethnic group will also affect the use and cognition of this space in Taipei, and the film will retaliate against gangsters. Bang! "The cheers of the children who set off fireworks on the Tamsui River may be mixed with deadly bullets, which is even more chilling.

In Daughter of the Nile, all aspects of Taipei's urban space are different but equally full of oppression. However, the interpersonal relationship around different spaces is very clear. Despite the confusion of values and moral concepts, people are familiar with each other's past, and there are many effective relationships based on human feelings (affection and friendship). It can be said that although Taipei has become materialistic, confused in values and full of oppression in this film, it still has human feelings and loyalty, and the relationship between people is still connected. It is a city that can clearly mark the spatial location and interpersonal relationships.