From the book A Treasure Island by Emilie Yueh-yu Yeh and Darrell William Davis, they explicitly give ideas in presenting the movies — ‘Home Sweet Home’ and ‘Vive L’Amour’ in what could be viewed as basically ‘a humanist-driven narrative’. These ideas make us to map out the assorted association that exists between the directors and their films, the directors and their environment and lastly the directors and the authors themselves (Emilie Yueh-yu Yeh and Darrell William Davis, 2005).
The presence of momentous themes and issues such as authorial genuineness and collective experiences creates connections between the chapters thus creating connections between one section and the next. From the analysis and ideas gauged conclusively from ‘A Treasure Island book’, the movies — ‘Home Sweet Home’ and ‘Vive L’Amour’ gives us a clear picture on how and why there is close relationship between a filmmaker and their socio-economic and socio-political environment.
The films analysis makes us investigate and result in appreciating that there is a mere need for film representatives and makers to work on their productions so as to increase contact between Chinese/Taiwanese and other nationalities, grow recognition of diasporic communities, improve and enlarge Taiwan’s role in global society, and loosen policies on film industry in Taiwan.. In general the movies have played a role in giving insight and information to the audience about the culture, socio –economic and socio – political in the Taiwanese way of life. The incorporation of different characters in different scenes gives the movies a lot of power to capture audience minds and perceptions on the outcomes of the events in the plots.
In the ‘Home Sweet Home’ film revolves in Taipei. It’s an interesting melodramatic story that has a combination of different characters. It has collective characters of less than fifteen in three separate stories. The story begins with a heavy fight as the characters come towards the Taipei airport. The story is divided into sections each containing different sets of characters talking about their strategies on action in Taipei. As they convene their parties at the airport, these sets are managed into three interconnecting stories of rifts, adversities, and homecoming.
In the ‘Vive L’Amour’ sensational film, three isolated Taipei dwellers bond in eccentric ways via an unoccupied apartment. One, a depressed young gay man separated from his family, crouch in the flat when the other two, a multinational realtor and a salesman. These characters convergence isn’t on basis of plans though its just fate that makes them do. This movie is viewed as one of the promising stories since the director uses ‘the narrative’, in particular for the investigation of individuality, personal and shared history and visual and auditory connections to the environment.
These films project ideas to the audience representatives as the mainland Taiwanese are the only “real” Taiwanese, more than usual the mainland movies must be political, that is anti-government, and Taiwanese-film makers are always in danger of being distorted by the West (Emilie Yueh-yu Yeh and Darrell William Davis, 2005). The set up of these two dramas — ‘Home Sweet Home’ and ‘Vive L’Amour’ are similar because the stories revolve in Taipei. The stories also have almost similar plots although different themes since the characters interconnect in different ways in the dramas. The stories are characterized by estrangement, problems, limitations and homecoming issues that face different characters in the story set ups.
A Treasure Island book further makes us have the hypothesis that the stories in the movies ‘Home Sweet Home’ and ‘Vive L’Amour’, give use close analysis of Taiwan’s most famous directors contributions towards the reader’s understanding of the Taiwanese films, each created as a cultural specific entity. Each director from the films reorganizes these filmic images on the audience and thus, in the process it recreates and defines Taiwan in line with their own experiences, culture, social life and a nation as a whole. (Emilie Yueh-yu Yeh and Darrell William Davis, 2005).
· E. Y. Yeh and D.W. Darrell, A Treasure Island. New York: Columbia University Press, 2005