Hou Hsiao Hsien’s Long Take Film Style

MA SIU KEIH

Thesis Proposal

Final Year Project

Faculty of Applied and Creative Arts

Cinematography ProgrammeDepartment of Performing Arts and Production Technology

30th December 2012

Introduction

A long take can comprise one shot within a scene, the

entirety of a scene, or even an entire movie. Long takes with

camera movement alter the rhythm of a scene and the

presentation of space within it.

Whenever we mention about long take shot or static camera

position, the first that come in our minds would be Hou Hsiao

Hsien, the famous Taiwanese director. As one of the best

director in New Wave Cinema era of Taiwanese Cinema, Hou Hsiao

Hsien’s style is definitely one of the most unique film style

I’ve ever seen. Unlike other directors who like to cut a scene

into many different shot and different angle, Hou’s film often

use one shot to the end in one scene. Hou’s favourite film

style is his long take shot and static camera position.

Taiwanese cinema is deeply rooted in Taiwan's unique and

rapidly changing history. Since its introduction to Taiwan in

1901 by the Japanese, cinema has developed in Taiwan through

several distinct stages. Due to its honest portrayal of life,

New Wave films examined many of the important issues facing

Taiwan society at this 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.

Hou Hsiao Hsien often referred to as one of the greatest

living directors, and a key figure in the Taiwanese New Wave.

He is a giant in the realm of contemporary world cinema. His

storytelling is elliptical and his style marked by extreme

long takes with minimal camera movement but intricate

choreography of actors and space within the frame. Hou Hsiao

Hsien is known by the world for his famous long-takes camera

style. At first, the reason he used long-takes is because of

the actors. They get nervous and forget the dialog when they

are near to the camera. So Hou Hsiao Hsien moved the camera

far away because he didn’t want the actors to realize the

existence of the camera and so they can act well. Hou Hsiao

Hsien's films have always displayed some element of the

master-shot style. The camera simply pans to whoever is

speaking.

Hou Hsiao Hsien’s long-takes camera style, the way he

likes to use off screen dialog to express the story and his

movies are about everyday life, its rhythms, its crests and

valleys, how his characters cope. All of these had become his

signature film style. He don’t use many cuts in his film, his

film style is quiet. Ordinarily, a filmmaker shoots the master

shot from a distance. Once that is clear, the director moves

the camera in closer to its subjects to form a close-up. When

editing, the scene can be cut between the master shot and the

close-up shots. Hou Hsiao Hsien almost never does this type of

standard film technique. A movie composed mostly of long

shots, especially extended takes as is usual for Hou, tends to

keep the audience emotionally distanced from the characters

and the action.

The Puppetmaster in 1993 directed by Hou is another

pretext to depict the history of Taiwan through its people.

The film covers the first 36 years in the life of puppet

master Li Tienlu. Hou is less interested in telling a story

than in shooting scenes of ordinary lives. The story proceeds

much faster when the protagonist is speaking than when an

action is being shown. The visual action is often a simple

domestic scene with few characters in the center. The camera

lingers in long, deep shots that sometimes capture several

environments at the same time. Sometimes the camera does not

move and characters appear and disappear in its horizon. Hou

shows little interest for the story itself. Each scene is a

self-contained expression of visual and psychological tension.

He favors long-takes, frequently filmed in deep focus,

giving a visceral weight to the spaces that his camera

captures. Whether he is filming gorgeous landscapes, or

framing interiors in a manner, Hou has an often novelistic

approach to everyday life in Taipei, combined with an

elliptical style of editing and repetition that is distinctly

his own. The history of Taiwan from the mid-forties into the

sixties is a period of tremendous alienation, a country

undergoing a crisis of identity. Hou's films have been lauded

for the ways in which they explore the existential questions

of Taiwan's past. Framing his scenes from afar and often

taking a dreamlike approach to lighting, it is easy to see why

Hou's films have been seen as a look back; a journey through

the historical memory of his country.

Problem Statement

Directors of main stream movies nowadays prefer to use

many shots and cuts in a scene to create a more exciting

ambience. They will often use close up or medium close up

shots to capture actors/actress’s face expression and bring

out the whole story and emotion. Thus, this research will be

study about Hou Hsiao Hsien’s film style as most of his movie

composed mostly of long shots. As one of the greatest living

director, his unique film style definitely not in the main

stream nowadays. He is famous of his extreme long takes with

minimal camera movement style. He let the audiences keep a

distance with the story and think as an outsider, not to let

the audiences sink into the story.

Objective

The purpose or objective I do this research is to study

Hou Hsiao Hsien’s long shot’s style and apply it to my final

year project. As we can rarely see film style like Hou Hsiao

Hsien’s long take style in movies nowadays, this research will

help to figure out the reason why Hou Hsiao Hsien’s long shot

style is not popular when comes to main stream movies. The

impact of long shot in movies can be examined thru this

project and, in this project, it gives a better understanding

and more details on Hou Hsiao Hsien’s long shots film style.

Furthermore, the purpose of doing this research also to

support and advertise the unique of Hou Hsiao Hsien’s film

style. Some people critic that Hou Hsiao Hsien’s static camera

movement makes his film looks dull and boring but we can’t

deny that this kind of film style makes him unique and

outstanding.

Importance of study

The most significant reason in doing this project is the

self-interest of the long take shots and Hou Hsiao Hsien. The

potential of long take shots to be use more often in main

stream movies and Hou Hsiao Hsien unique film style made it

become more attractive to do more research. Besides that, the

unique way Hou Hsiao Hsien use long shot to keep distance

between audience and actor lead to another reason to support

the importance of this project. Moreover, the research project

on Hou Hsiao Hsien’s long take film style had not been done

specifically and can be improved in order to enhance the

potential of long take shots in main stream movies.

Furthermore, thru this research, the characteristic and

feature long take film style of Hou Hsiao Hsien can be fully

understand, thus it can be popularize and the usage of long

take shots in main stream movies can be increased.

Research Questions

Below shows some of the questions that can be used in

order to help to complete and advance this research.

I. Is Hou Hsiao Hsien’s long take film style well known by

everyone?

II. How does Hou Hsiao Hsien’s long take film style

influencing the film industry?

III. Is long take film style can be used more often in main

stream movies?

IV. How well do everyone understand about Hou Hsiao Hsien and

his film style?

V. How to bring out the emotion of whole movie without using

the usual close up shots by main stream film?

VI. What kind of technique or style that usually used by

others director in main stream movies?

Goal of study

After completion of this study, the data is written and

read by fans documented film industry and help in further

studies. This study can also help to solve the problems in

order to achieve the objectives of the study.

Study Scope

In order to solve the defined problem statement, scope of

research will indeed help by providing some statements that

will be able to focus on in this research.

I. The concept of long take film style.

II. Hou Hsiao Hsien’s film style.

III. The meaning of main stream movies.

IV. The influence of Hou Hsiao Hsien’s long take film style

in film industry.

Framework

A long take is continuous shot in a motion picture with

no cuts, photographed from a single camera. Generally long

shots run several minutes. In order to accommodate changing

scenery or moving actors, the camera is often on a dolly or

studio crane. The steadicam is often used in long takes after

its invention in the 1970s.

According to Jeffrey Sward, Long takes are rare because

of their relatively high expense and complexity. Long takes

require extensive technical coordination among the camera

operators, lighting technicians, and actors. All lights,

camera positions, props, and actors must be preset for the

entire scene before each take. (Notable Long Takes in Cinema

by Jeffrey Sward, 2010)

Long takes are also unforgiving of mistakes, requiring a

retake from the beginning. The time involved in extensive

planning, coordination, full environment setup, and retakes is

costly in labor dollars. Culturally the population has become

accustomed to cuts in motion pictures, so there are no

continuity reasons for long takes. However, when done well,

the long take is often an object of beauty as well as

cinematic craftsmanship.

On the other hand, Hou Hsiao Hsien is among the famous

that uses long take film style in film industry. Hence, it is

important to stress out the unique, specialty of Hou Hsiao

Hsien’s long take film style thru this research in order to

advertise and attract more and more directors that uses long

take technique in film industry. Moreover, seminars about long

take film style can be given and held at famous film school

such as New York Film Academy frequently in order to gather

all the potential students or film makers that interested in

long take film style. At the same time, to advertise to the

public.

Design of studies

PHAS MONTH ACTIVITY OBJECTIVE

E

1 January-

March

Literature

Review

To obtain information based

on objective of the

studies.2 April-

June

Observatio

n

Observe and do research

regarding the topic.

3 July-

Septembe

r

Interview

Questionai

re

To collect data.

4 October-

December

Analyse

informatio

n that has

been

obtained

Analyse information that

are documentation and

published.

FAKULTI SENI GUNAAN DAN KREATIF

GKA 2063 RESEARCH METODOLOGI

NAMA : MA SIU KEIH

MATRIC NO: 30885

PROGRAM : CINEMATOGRAPHY (WA58)

TITLE: QUESTIONNAIRE

The purpose of conducting the questionnaire is to gain theunderstanding of the Hou Hsiao Hsien’s long take film styleamong the society. We appreciate for every participant inparticipated this questionnaire. Every question has to beanswered correctly in order to provide a more precise result.

Questionnaire

1. Are you interested in film?

1. Yes 2. No

2. Do you know about long take film style?

1. Yes 2. No

3. Do you know who is Hou Hsiao Hsien?

1. Yes 2. No

4. How do you know about long take film style? (Tick any that apply)

____Television _____Internet _____Magazine

____Newspaper _____Friend _____Other

5. In your opinion, which media should be used to advertise long take film style to the public?

____Internet _____Television_____Newspaper

6. Do you like to watch movies?

____Yes ____No

7. How much do you know about longtake film style?

8. How do you rate your interestabout Hou Hsiao Hsien’s long take filmstyle?

9. How often do you watch a movie?

1 2 3 4Bad Poor Fair Good

1 2 3 4Bad Poor Fair Good

1 2 3 4Never Once Seldo

mOften

10. How do you rate your understandingto film industry?

Methodology

In this research, various methods can be used in order to

obtain any useful information about Hou Hsiao Hsien’s long

take film style. Information such as definition of long take,

films that directed by Hou Hsiao Hsien and others are needed

in this research and these can be obtain either through

materials, electronic media and others.

The methods that will be used are,

I. Referring to materials such as website, books and

others

II. Quantitative Research

III. Qualitative Research

Materials

Thru materials many useful information about Hou Hsiao

Hsien’s long take film style can be obtained. Materials such

as website will provide a lot of feedback about long take and

1 2 3 4Bad Poor Fair Good

Hou Hsiao Hsien, for example the history of film, the

invention of long take, the technique that are used in Hou

Hsiao Hsien’s film and others. Thru, electronic materials

also, the films that had been directed by Hou Hsiao Hsien can

be found easily and hence enhance the progress of this

research.

Quantitative Research

This type of method is used to obtain more subjective

result, scientific and trustable data in order to obtain solve

the problem statement. Through this method, the concept of

long take film style, the understanding of Hou Hsiao Hsien,

the influence that may cause in main stream movie and the

understanding level of the society can be obtained.

Qualitative Research

• Interview

In order to solve the problem statement that had been

proposed in this research, interview with the lecturers,

cinematography’s student and public can be conducted and every

single data can be specifically obtained.

• Observation

Through observation, every single camera movement in Hou

Hsiao Hsien’s film when the film is playing can be observed to

fulfill the research statement.

Instrument Research

The instrument research can be defined as the

instrumental used during the research process. The instruments

that can be used are,

• TV and VCD/DVD player

TV and VCD/DVD player is used to play all the Hou Hsiao

Hsien’s films to observe his technique of long take.

• Note Book

It is useful in jotting down all the useful information

such as the information during the interview to fasten the

process of research.

• Laptop

It uses for documentation or input all the data that

obtained during the research process.

Literature Review

Extensive technical coordination among the camera

operators, lighting technicians, and actors formed the

perfection of long takes. All lights, camera positions, props,

and actors must be preset for the entire scene before each

take. As one of the director famous with long takes style, Hou

Hsiao Hsien had proved to the world of his skill in using long

takes film style by winning award from prestigious

international festivals such as the Venice Film Festival,

Berlin Film Festival, Hawaii International Film Festival and

the Nantes Three Continents Festival.

The history of long takes begins with,

Alfred Hitchcock (1899-1980)

As England's best director, Sir Alfred Joseph Hitchcock

pioneered many techniques in the suspense and psychological

thriller genres. In 1948, Alfred Hitchcock directed a film

named Rope. This film is a American thriller film and because

of this film, long takes had been invented. Alfred Hitchcock

intended for the film to have the effect of one long

continuous take, but the cameras available could hold no more

than 1000 feet of 35 mm film. As a result, each take used up

to a whole roll of film and lasts up to 10 minutes. Many takes

end with a dolly shot to a featureless surface, with the

following take beginning at the same point by zooming out. The

entire film consists of only 11 shots.

During the 1940s and 1950s, mainstream directors such as

Otto Preminger (1906–1986), Vincente Minnelli (1903–1986), Max

Ophüls (1902–1957), and Samuel Fuller (1912–1997) incorporated

long takes with camera movement into their visual aesthetic,

but since the 1960s extended shot lengths have predominantly

been embraced by art cinema directors, such as Theo

Angelopoulos (b. 1935), Hou Hsiao-hsien (b. 1947), and Tsai

Ming-liang (b. 1957).

Besides being one of the leading figure for Taiwan New

Wave cinema movement, Hou Hsiao Hsien is also an actor, singer

and producer. He was born in China but move to Taiwan when he

was still very young. He graduated from the National Taiwan

Academy of the Arts in 1972 but he only began to start his

career in film industry at 1974. He directed his first film in

1980 and long takes had become his symbolic style. Hou Hsiao

Hsien likes to use long takes and makes himself an outsider or

even a storyteller. After watch Hou Hsiao Hsien’s film,

audiences will deeply feel an emotion and imagery extension.

Long takes are continuous shots that last considerably

longer than the typical shot in a given historical period.

Although it is easy to confuse long takes with long shots, the

terms refer to two different relationships: long takes suggest

the duration of a shot, while long shots specify the distance

between a figure and the camera. During the studio era, the

average shot in a Hollywood release lasted approximately eight

to eleven seconds; since the 1960s faster cutting rates have

resulted in shot lengths averaging less than half the studio-

era norm. In the absence of editing, long takes tend to use

camera movement in combination with sound and mise-en-scène to

direct the viewer's attention toward important narrative

elements. Tilting, panning, tracking, and craning can create a

series of new compositions during a long take in much the same

way as editing, but without breaking from a continuous

recording of space and time.

Conclusion

In conclusion, there are not much of research papers or

journal about Hou Hsiao Hsien’s long takes style that had been

done recently. Hence, this research may give a lot of useful

information, and guidance that can be used for future purpose.

On the other hand, this research will provide better

understanding about long takes technique and this may create

students interest to produce films using long takes. Last but

not least, through this research the interest and knowledge

about long takes can be seeded among the society.

References

David Thomson (2010) The New Biographical Dictionary of Film:

Fifth Edition, Completely Updated and Expanded

"Camera Movement and the Long Take" (2012) retrieved from

www.Filmreference.com. 1902-05-06.

Hou Hsiao Hsien retrieved from

http://www.filmref.com/directors/dirpages/hou.html

Long Take retrieved from

http://www.filmreference.com/encyclopedia/Academy-Awards-Crime-Films/Camera-

Movement-CAMERA-MOVEMENT-AND-THE-LONG-TAKE.html