Abstract:  Hou Hsiaohsien’s films have always demonstrated his unique observation of life, thinking of life and image presentation in an “antimovie” way. To be specific, he prefers tranquility to mobility, silence to words, concreteness to abstractness, China to the West, art to actions, thus making himself “a director without direction”, his cast of films “performers without performance”, and projecting a feature of “causal effects without plots”. His unique style and image narrative grammar is developed as a result of not only the director’s life experiences, life understanding and aesthetic taste, but also the director’s view of the nature of movie, and still more, the unique mode of thinking of the Chinese nation in which the director is nurtured and the way Oriental culture perceives and understands life. Therefore, Hou’s films are featured with humanistic care characterized by strong personal style and image expressions imbued with oriental aesthetic implications, thus winning him an adorable place in the world film history.
Key words：

Key words: Taiwan film, Auteur Film, Hou Hsiaohsien, The Assassin, oriental aesthetics