Yi Yi

directed by Edward Yang, 2000

Yi Yi (2000)

Dir. Edward Yang

List of Gods, most of which are no longer worshipped. via /r/atheism

List of Gods, most of which are no longer worshipped.

Middle-East

A, Adad, Adapa, Adrammelech, Aeon, Agasaya, Aglibol, Ahriman, Ahura Mazda, Ahurani, Ai-ada, Al-Lat, Aja, Aka, Alalu, Al-Lat, Amm, Al-Uzza (El-'Ozza or Han-Uzzai), An, Anahita, Anath (Anat), Anatu, Anbay, Anshar, Anu, Anunitu, An-Zu, Apsu, Aqhat, Ararat, Arinna, Asherali, Ashnan, Ashtoreth, Ashur, Astarte, Atar, Athirat, Athtart, Attis, Aya, Baal (Bel), Baalat (Ba'Alat), Baau, Basamum, Beelsamin, Belit-Seri, Beruth, Borak, Broxa, Caelestis, Cassios, Lebanon, Antilebanon, and Brathy, Chaos, Chemosh, Cotys, Cybele, Daena, Daevas, Dagon, Damkina, Dazimus, Derketo, Dhat-Badan, Dilmun, Dumuzi (Du'uzu), Duttur, Ea, El, Endukugga, Enki, Enlil, Ennugi, Eriskegal, Ereshkigal (Allatu), Eshara, Eshmun, Firanak, Fravashi, Gatamdug, Genea, Genos, Gestinanna, Gula, Hadad, Hannahanna, Hatti, Hea, Hiribi, The Houri, Humban, Innana, Ishkur, Ishtar, Ithm, Jamshid or Jamshyd, Jehovah, Jesus, Kabta, Kadi, Kamrusepas, Ki (Kiki), Kingu, Kolpia, Kothar-u-Khasis, Lahar, Marduk, Mari, Meni, Merodach, Misor, Moloch, Mot, Mushdama, Mylitta, Naamah, Nabu (Nebo), Nairyosangha, Nammu, Namtaru, Nanna, Nebo, Nergal, Nidaba, Ninhursag or Nintu, Ninlil, Ninsar, Nintur, Ninurta, Pa, Qadshu, Rapithwin, Resheph (Mikal or Mekal), Rimmon, Sadarnuna, Shahar, Shalim, Shamish, Shapshu, Sheger, Sin, Siris (Sirah), Taautos, Tammuz, Tanit, Taru, Tasimmet, Telipinu, Tiamat, Tishtrya, Tsehub, Utnapishtim, Utu, Wurusemu, Yam, Yarih (Yarikh), Yima, Zaba, Zababa, Zam, Zanahary (Zanaharibe), Zarpandit, Zarathustra, Zatavu, Zazavavindrano, Ziusudra, Zu (Imdugud), Zurvan

China:

Ba, Caishen, Chang Fei, Chang Hsien, Chang Pan, Ch'ang Tsai, Chao san-Niang, Chao T'eng-k'ang, Chen Kao, Ch'eng Huang, Cheng San-Kung, Cheng Yuan-ho, Chi Po, Chien-Ti, Chih Jih, Chih Nii, Chih Nu, Ch'ih Sung-tzu, Ching Ling Tzu, Ch'ing Lung, Chin-hua Niang-niang, Chio Yuan-Tzu, Chou Wang, Chu Niao, Chu Ying, Chuang-Mu, Chu-jung, Chun T'i, Ch'ung Ling-yu, Chung Liu, Chung-kuei, Chung-li Ch'üan, Di Jun, Fan K'uei, Fei Lien, Feng Pho-Pho, Fengbo, Fu Hsing, Fu-Hsi, Fu-Pao, Gaomei, Guan Di, Hao Ch'iu, Heng-o, Ho Po (Ping-I), Hou Chi, Hou T'u, Hsi Ling-su, Hsi Shih, Hsi Wang Mu, Hsiao Wu, Hsieh T'ien-chun, Hsien Nung, Hsi-shen, Hsu Ch'ang, Hsuan Wen-hua, Huang Ti, Huang T'ing, Huo Pu, Hu-Shen, Jen An, Jizo Bosatsu, Keng Yen-cheng, King Wan, Ko Hsien-Weng, Kuan Ti, Kuan Ti, Kuei-ku Tzu, Kuo Tzu-i, Lai Cho, Lao Lang, Lei Kung, Lei Tsu, Li Lao-chun, Li Tien, Liu Meng, Liu Pei, Lo Shen, Lo Yu, Lo-Tsu Ta-Hsien, Lu Hsing, Lung Yen, Lu-pan, Ma-Ku, Mang Chin-i, Mang Shen, Mao Meng, Men Shen, Miao Hu, Mi-lo Fo, Ming Shang, Nan-chi Hsien-weng, Niu Wang, Nu Wa, Nu-kua, Pa, Pa Cha, Pai Chung, Pai Liu-Fang, Pai Yu, P'an Niang, P'an-Chin-Lien, Pao Yuan-ch'uan, Phan Ku, P'i Chia-Ma, Pien Ho, San Kuan, Sao-ch'ing Niang, Sarudahiko, Shang Chien, Shang Ti, She chi, Shen Hsui-Chih, Shen Nung, Sheng Mu, Shih Liang, Shiu Fang, Shou-lao, Shun I Fu-jen, Sien-Tsang, Ssu-ma Hsiang-ju, Sun Pin, Sun Ssu-miao, Sung-Chiang, Tan Chu, T'ang Ming Huang, Tao Kung, T'ien Fei, Tien Hou, Tien Mu, Ti-tsang, Tsai Shen, Ts'an Nu, Ts'ang Chien, Tsao Chun, Tsao-Wang, T'shai-Shen, Tung Chun, T'ung Chung-chung, T'ung Lai-yu, Tung Lu, T'ung Ming, Tzu-ku Shen, Wa, Wang Ta-hsien, Wang-Mu-Niang-Niang, Weiwobo, Wen-ch'ang, Wu-tai Yuan-shuai, Xi Hou, Xi Wangmu, Xiu Wenyin, Yanwang, Yaoji, Yen-lo, Yen-Lo-Wang, Yi, Yu, Yu Ch'iang, Yu Huang, Yun-T'ung, Yu-Tzu, Zaoshen, Zhang Xi, , Zhinü, , Zhongguei, , Zigu Shen, , Zisun, Ch'ang-O

Slavic:

Aba-khatun, Aigiarm, Ajysyt, Alkonost, Almoshi, Altan-Telgey, Ama, Anapel, As-ava, Ausaitis, Austeja, Ayt'ar, Baba Yaga (Jezi Baba), Belobog (Belun), Boldogasszony, Breksta, Bugady Musun, Chernobog (Crnobog, Czarnobog, Czerneboch, Cernobog), Cinei-new, Colleda (Koliada), Cuvto-ava, Dali, Darzu-mate, Dazhbog, Debena, Devana, Diiwica (Dilwica), Doda (Dodola), Dolya, Dragoni, Dugnai, Dunne Enin, Edji, Elena, Erce, Etugen, Falvara, The Fates, The Fatit, Gabija, Ganiklis, Giltine, Hotogov Mailgan, Hov-ava, Iarila, Isten, Ja-neb'a, Jedza, Joda-mate, Kaldas, Kaltes, Keretkun, Khadau, Khursun (Khors), Kostrubonko, Kovas, Krumine, Kupala, Kupalo, Laima, Leshy, Marina, Marzana, Matergabiae, Mat Syra Zemlya, Medeine, Menu (Menulis), Mir-Susne-Khum, Myesyats, Nastasija, (Russia) Goddess of sleep., Nelaima, Norov, Numi-Tarem, Nyia, Ora, Ot, Patollo, Patrimpas, Pereplut, Perkuno, Perun, Pikuolis, Pilnytis, Piluitus, Potrimpo, Puskaitis, Rod, Rugevit, Rultennin, Rusalki, Sakhadai-Noin, Saule, Semargl, Stribog, Sudjaje, Svantovit (Svantevit, Svitovyd), Svarazic (Svarozic, Svarogich), Tengri, Tñairgin, Triglav, Ulgen (Ulgan, Ülgön), Veles (Volos), Vesna, Xatel-Ekwa, Xoli-Kaltes, Yamm, Yarilo, Yarovit, Ynakhsyt, Zaria, Zeme mate, Zemyna, Ziva (Siva), Zizilia, Zonget, Zorya, Zvoruna, Zvezda Dennitsa, Zywie

Hindu

Aditi, Adityas, Ambika, Ananta (Shesha), Annapurna (Annapatni), Aruna, Ashvins, Balarama, Bhairavi, Brahma, Buddha, Dakini, Devi, Dharma, Dhisana, Durga, Dyaus, Ganesa (Ganesha), Ganga (Ganges), Garuda, Gauri, Gopis, Hanuman, Hari-Hara, Hulka Devi, Jagganath, Jyeshtha, Kama, Karttikeya, Krishna, Krtya, Kubera, Kubjika, Lakshmi or Laksmi, Manasha, Manu, Maya, Meru, Nagas, Nandi, Naraka, Nataraja, Nirriti, Parjanya, Parvati, Paurnamasi, Prithivi, Purusha, Radha, Rati, Ratri, Rudra, Sanjna, Sati, Shashti, Shatala, Sitala (Satala), Skanda, Sunrta, Surya, Svasti-devi, Tvashtar, Uma, Urjani, Vach, Varuna, Vayu, Vishnu (Avatars of Vishnu: Matsya; Kurma; Varaha; Narasinha; Vamana; Parasurama; Rama; Krishna; Buddha; Kalki), Vishvakarman, Yama, Sraddha

Japan: Aji-Suki-Taka-Hi-Kone, Ama no Uzume, Ama-terasu, Amatsu Mikaboshi, Benten (Benzai-Ten), Bishamon, Chimata-No-Kami, Chup-Kamui, Daikoku, Ebisu, Emma-O, Fudo, Fuji, Fukurokuju, Gekka-O, Hachiman, Hettsui-No-Kami, Ho-Masubi, Hotei, Inari, Izanagi and Izanami, Jizo Bosatsu, Jurojin, Kagutsuchi, Kamado-No-Kami, Kami, Kawa-No-Kami, Kaya-Nu-Hima, Kishijoten, Kishi-Mojin, Kunitokotatchi, Marici, Monju-Bosatsu, Nai-No-Kami, No-Il Ja-Dae, O-Kuni-Nushi, Omoigane, Raiden, Shine-Tsu-Hiko, Shoten, Susa-no-wo, Tajika-no-mikoto, Tsuki-yomi, Uka no Mitanna, Uke-mochi, Uso-dori, Uzume, Wakahirume, Yainato-Hnneno-Mikoi, Yama-No-Kami, Yama-no-Karni, Yaya-Zakurai, Yuki-Onne

India

Agni, Ammavaru, Asuras, Banka-Mundi, Brihaspati, Budhi Pallien, Candi, Challalamma, Chinnintamma, Devas, Dyaush, Gauri-Sankar, Grhadevi, Gujeswari, Indra, Kali, Lohasur Devi, Mayavel, Mitra, Prajapati, Puchan, Purandhi, Rakshas, Rudrani, Rumina, Samundra, Sarasvati, Savitar, Siva (Shiva), Soma, Sura, Surabhi, Tulsi, Ushas, Vata, Visvamitra, Vivasvat, Vritra, Waghai Devi, Yaparamma, Yayu, Zumiang Nui, Diti

Other Asian: Dewi Shri, Po Yan Dari, Shuzanghu, Antaboga, Yakushi Nyorai, Mulhalmoni, Tankun, Yondung Halmoni, Aryong Jong, Quan Yin , Tengri, Uminai-gami, Kamado-No-Kami, Kunitokotatchi, Giri Devi, Dewi Nawang Sasih, Brag-srin-mo, Samanta-Bhadra, Sangs-rgyas-mkhá, Sengdroma, Sgeg-mo-ma, Tho-og, Ui Tango, Yum-chen-mo, Zas-ster-ma-dmar-mo, Chandra, Dyaus, Ratri, Rodasi, Vayu, Au-Co

African Gods, Demigods and First Men:

Abassi , Abuk , Adu Ogyinae , Agé , Agwe , Aida Wedo , Ajalamo, Aje, Ajok, Akonadi, Akongo, Akuj, Amma, Anansi, Asase Yaa, Ashiakle, Atai , Ayaba, Aziri, Baatsi, Bayanni, Bele Alua, Bomo rambi, Bosumabla, Buk, Buku, Bumba, Bunzi, Buruku, Cagn, Candit, Cghene, Coti, Damballah-Wedo, Dan, Deng, Domfe, Dongo, Edinkira, Efé, Egungun-oya, Eka Abassi, Elephant Girl Mbombe, Emayian, Enekpe, En-Kai, Eseasar, Eshu, Esu, Fa, Faran, Faro, Fatouma, Fidi Mukullu, Fon, Gleti, Gonzuole, Gû, Gua, Gulu, Gunab, Hammadi, Hêbiesso, Iku, Ilankaka, Imana, Iruwa, Isaywa, Juok, Kazooba, Khakaba, Khonvum, Kibuka, Kintu, Lebé, Leza, Libanza, Lituolone, Loko, Marwe, Massim Biambe, Mawu-Lisa (Leza), Mboze, Mebeli, Minepa, Moombi, Mukameiguru, Mukasa, Muluku, Mulungu, Mwambu, Nai, Nambi, Nana Buluku, Nanan-Bouclou, Nenaunir, Ng Ai, Nyaliep, Nyambé, Nyankopon, Nyasaye, Nzame, Oboto, Obumo, Odudua-Orishala, Ogun, Olokun, Olorun, Orisha Nla, Orunmila, Osanyin, Oshe, Osun, Oya, Phebele, Pokot-Suk, Ralubumbha, Rugaba, Ruhanga, Ryangombe, Sagbata, Shagpona, Shango, Sopona, Tano, Thixo, Tilo, Tokoloshi, Tsui, Tsui'goab, Umvelinqangi, Unkulunkulu, Utixo, Wak, Wamara, Wantu Su, Wele, Were, Woto, Xevioso, Yangombi, Yemonja, Ymoa, Ymoja, Yoruba, Zambi, Zanahary , Zinkibaru

Australian Gods, Goddesses and Places in the Dreamtime:

Alinga, Anjea, Apunga, Arahuta, Ariki, Arohirohi, Bamapana, Banaitja, Bara, Barraiya, Biame, Bila, Boaliri, Bobbi-bobbi, Bunbulama, Bunjil, Cunnembeille, Daramulum, Dilga, Djanggawul Sisters, Eingana, Erathipa, Gidja , Gnowee, Haumia, Hine Titama, Ingridi, Julana, Julunggul, Junkgowa, Karora, Kunapipi-Kalwadi-Kadjara, Lia, Madalait, Makara, Nabudi, Palpinkalare, Papa, Rangi, Rongo, Tane, Tangaroa, Tawhiri-ma-tea, Tomituka, Tu, Ungamilia, Walo, Waramurungundi, Wati Kutjarra, Wawalag Sisters, Wuluwaid, Wuragag, Wuriupranili, Wurrunna, Yhi

Buddhism, Gods and Relatives of God:

Aizen-Myoo, Ajima,Dai-itoku-Myoo, Fudo-Myoo, Gozanze-Myoo, Gundari-Myoo, Hariti, Kongo-Myoo, Kujaku-Myoo, Ni-O

Carribean: Gods, Monsters and Vodun Spirits

Agaman Nibo , Agwe, Agweta, Ah Uaynih, Aida Wedo , Atabei , Ayida , Ayizan, Azacca, Baron Samedi, Ulrich, Ellegua, Ogun, Ochosi, Chango, Itaba, Amelia, Christalline, Clairmé, Clairmeziné, Coatrischie, Damballah , Emanjah, Erzuli, Erzulie, Ezili, Ghede, Guabancex, Guabonito, Guamaonocon, Imanje, Karous, Laloue-diji, Legba, Loa, Loco, Maitresse Amelia , Mapiangueh, Marie-aimée, Marinette, Mombu, Marassa, Nana Buruku, Oba, Obtala, Ochu, Ochumare, Oddudua, Ogoun, Olokum, Olosa, Oshun, Oya, Philomena, Sirêne, The Diablesse, Itaba, Tsilah, Ursule, Vierge, Yemaya , Zaka

Celtic: Gods, Goddesses, Divine Kings and Pagan Saints

Abarta, Abna, Abnoba, Aine, Airetech,Akonadi, Amaethon, Ameathon, An Cailleach, Andraste, Antenociticus, Aranrhod, Arawn, Arianrod, Artio, Badb,Balor, Banbha, Becuma, Belatucadros, Belatu-Cadros, Belenus, Beli,Belimawr, Belinus, Bendigeidfran, Bile, Blathnat, Blodeuwedd, Boann, Bodus,Bormanus, Borvo, Bran, Branwen, Bres, Brigid, Brigit, Caridwen, Carpantus,Cathbadh, Cecht, Cernach, Cernunnos, Cliodna, Cocidius, Conchobar, Condatis, Cormac,Coronus,Cosunea, Coventina, Crarus,Creidhne, Creirwy, Cu Chulainn, Cu roi, Cuda, Cuill,Cyhiraeth,Dagda, Damona, Dana, Danu, D'Aulnoy,Dea Artio, Deirdre , Dewi, Dian, Diancecht, Dis Pater, Donn, Dwyn, Dylan, Dywel,Efnisien, Elatha, Epona, Eriu, Esos, Esus, Eurymedon,Fedelma, Fergus, Finn, Fodla, Goewyn, Gog, Goibhniu, Govannon , Grainne, Greine,Gwydion, Gwynn ap Nudd, Herne, Hu'Gadarn, Keltoi,Keridwen, Kernunnos,Ler, Lir, Lleu Llaw Gyffes, Lludd, Llyr, Llywy, Luchta, Lug, Lugh,Lugus, Mabinogion,Mabon, Mac Da Tho, Macha, Magog, Manannan, Manawydan, Maponos, Math, Math Ap Mathonwy, Medb, Moccos,Modron, Mogons, Morrig, Morrigan, Nabon,Nantosuelta, Naoise, Nechtan, Nedoledius,Nehalennia, Nemhain, Net,Nisien, Nodens, Noisi, Nuada, Nwywre,Oengus, Ogma, Ogmios, Oisin, Pach,Partholon, Penard Dun, Pryderi, Pwyll, Rhiannon, Rosmerta, Samhain, Segidaiacus, Sirona, Sucellus, Sulis, Taliesin, Taranis, Teutates, The Horned One,The Hunt, Treveni,Tyne, Urien, Ursula of the Silver Host, Vellaunus, Vitiris, White Lady

Egyptian: Gods, Gods Incarnate and Personified Divine Forces:

Amaunet, Amen, Amon, Amun, Anat, Anqet, Antaios, Anubis, Anuket, Apep, Apis, Astarte, Aten, Aton, Atum, Bastet, Bat, Buto, Duamutef, Duamutef, Hapi, Har-pa-khered, Hathor, Hauhet, Heket, Horus, Huh, Imset, Isis, Kauket, Kebechsenef, Khensu, Khepri, Khnemu, Khnum, Khonsu, Kuk, Maahes, Ma'at, Mehen, Meretseger, Min, Mnewer, Mut, Naunet, Nefertem, Neith, Nekhbet, Nephthys, Nun, Nut, Osiris, Ptah, Ra , Re, Renenet, Sakhmet, Satet, Seb, Seker, Sekhmet, Serapis, Serket, Set, Seth, Shai, Shu, Shu, Sia, Sobek, Sokar, Tefnut, Tem, Thoth

Hellenes (Greek) Tradition (Gods, Demigods, Divine Bastards)

Acidalia, Aello, Aesculapius, Agathe, Agdistis, Ageleia, Aglauros, Agne, Agoraia, Agreia, Agreie, Agreiphontes, Agreus, Agrios, Agrotera, Aguieus, Aidoneus, Aigiokhos, Aigletes, Aigobolos, Ainia,Ainippe, Aithuia , Akesios, Akraia, Aktaios, Alalkomene, Alasiotas, Alcibie, Alcinoe, Alcippe, Alcis,Alea, Alexikakos, Aligena, Aliterios, Alkaia, Amaltheia, Ambidexter, Ambologera, Amynomene,Anaduomene, Anaea, Anax, Anaxilea, Androdameia,Andromache, Andromeda, Androphonos, Anosia, Antandre,Antania, Antheus, Anthroporraistes, Antianara, Antianeira, Antibrote, Antimache, Antimachos, Antiope,Antiopeia, Aoide, Apatouria, Aphneius, Aphrodite, Apollo, Apotropaios, Areia, Areia, Areion, Areopagite, Ares, Areto, Areximacha,Argus, Aridnus,Aristaios, Aristomache, Arkhegetes, Arktos, Arretos, Arsenothelys, Artemis, Asclepius, Asklepios, Aspheleios, Asteria, Astraeos , Athene, Auxites, Avaris, Axios, Axios Tauros,Bakcheios, Bakchos, Basileus, Basilis, Bassareus, Bauros, Boophis, Boreas , Botryophoros, Boukeros, Boulaia, Boulaios, Bremusa,Bromios, Byblis,Bythios, Caliope, Cedreatis, Celaneo, centaur, Cerberus, Charidotes, Charybdis, Chimera, Chloe, Chloris , Choreutes, Choroplekes, Chthonios, Clete, Clio, clotho,Clyemne, cockatrice, Crataeis, Custos, Cybebe, Cybele, Cyclops, Daphnaia, Daphnephoros, Deianeira, Deinomache, Delia, Delios, Delphic, Delphinios, Demeter, Dendrites, Derimacheia,Derinoe, Despoina, Dikerotes, Dimeter, Dimorphos, Dindymene, Dioktoros, Dionysos, Discordia, Dissotokos, Dithyrambos, Doris, Dryope,Echephyle,Echidna, Eiraphiotes, Ekstatophoros, Eleemon, Eleuthereus, Eleutherios, Ennosigaios, Enodia, Enodios, Enoplios, Enorches, Enualios, Eos , Epaine, Epidotes, Epikourios, Epipontia, Epitragidia, Epitumbidia, Erato, Ergane, Eribromios, Erigdoupos, Erinus, Eriobea, Eriounios, Eriphos, Eris, Eros,Euanthes, Euaster, Eubouleus, Euboulos, Euios, Eukhaitos, Eukleia, Eukles, Eumache, Eunemos, Euplois, Euros , Eurybe,Euryleia, Euterpe, Fates,Fortuna, Gaia, Gaieokhos, Galea, Gamelia, Gamelios, Gamostolos, Genetor, Genetullis, Geryon, Gethosynos, giants, Gigantophonos, Glaukopis, Gorgons, Gorgopis, Graiae, griffin, Gynaikothoinas, Gynnis, Hagisilaos, Hagnos, Haides, Harmothoe, harpy, Hegemone, Hegemonios, Hekate, Hekatos, Helios, Hellotis, Hephaistia, Hephaistos, Hera, Heraios, Herakles, Herkeios, Hermes, Heros Theos, Hersos, Hestia, Heteira, Hiksios, Hipp, Hippia, Hippios, Hippoi Athanatoi, Hippolyte, Hippolyte II,Hippomache,Hippothoe, Horkos, Hugieia, Hupatos, Hydra, Hypate, Hyperborean, Hypsipyle, Hypsistos, Iakchos, Iatros, Idaia, Invictus, Iphito,Ismenios, Ismenus,Itonia, Kabeiria, Kabeiroi, Kakia, Kallinikos, Kallipugos, Kallisti, Kappotas, Karneios, Karpophoros, Karytis, Kataibates, Katakhthonios, Kathatsios, Keladeine, Keraunos, Kerykes, Khalinitis, Khalkioikos, Kharmon, Khera, Khloe, Khlori,Khloris,Khruse, Khthonia, Khthonios, Kidaria, Kissobryos, Kissokomes, Kissos, Kitharodos, Kleidouchos, Kleoptoleme, Klymenos, Kore, Koruthalia, Korymbophoros, Kourotrophos, Kranaia, Kranaios, Krataiis, Kreousa, Kretogenes, Kriophoros, Kronides, Kronos,Kryphios, Ktesios, Kubebe, Kupris, Kuprogenes, Kurotrophos, Kuthereia, Kybele, Kydoime,Kynthia, Kyrios, Ladon, Lakinia, Lamia, Lampter, Laodoke, Laphria, Lenaios, Leukatas, Leukatas, Leukolenos, Leukophruene, Liknites, Limenia, Limnaios, Limnatis, Logios, Lokhia, Lousia, Loxias, Lukaios, Lukeios, Lyaios, Lygodesma, Lykopis, Lyseus, Lysippe, Maimaktes, Mainomenos, Majestas, Makar, Maleatas, Manikos, Mantis, Marpe, Marpesia, Medusa, Megale, Meilikhios, Melaina, Melainis, Melanaigis, Melanippe,Melete, Melousa, Melpomene, Melqart, Meses, Mimnousa, Minotaur, Mneme, Molpadia,Monogenes, Morpho, Morychos, Musagates, Musagetes, Nebrodes, Nephelegereta, Nereus,Nete, Nike, Nikephoros, Nomios, Nomius, Notos , Nyktelios, Nyktipolos, Nympheuomene, Nysios, Oiketor, Okyale, Okypous, Olumpios, Omadios, Ombrios, Orithia,Orius,Ortheia, Orthos, Ourania, Ourios, Paelemona, Paian, Pais, Palaios, Pallas, Pan Megas, Panakhais, Pandemos, Pandrosos, Pantariste, Parthenos, PAsianax, Pasiphaessa, Pater, Pater, Patroo s, Pegasus, Pelagia, Penthesilea, Perikionios, Persephone, Petraios, Phanes, Phanter, Phatria, Philios, Philippis, Philomeides, Phoebe, Phoebus, Phoenix, Phoibos, Phosphoros, Phratrios, Phutalmios, Physis, Pisto, Plouton, Polemusa,Poliakhos, Polias, Polieus, Polumetis, Polydektes, Polygethes, Polymnia, Polymorphos, Polyonomos, Porne, Poseidon, Potnia Khaos, Potnia Pheron, Promakhos, Pronoia, Propulaios, Propylaia, Proserpine, Prothoe, Protogonos, Prytaneia, Psychopompos, Puronia, Puthios, Pyrgomache, Python, Rhea, Sabazios, Salpinx, satyr, Saxanus, Scyleia,Scylla, sirens, Skeptouchos, Smintheus, Sophia, Sosipolis, Soter, Soteria, Sphinx, Staphylos, Sthenias, Sthenios, Strife, Summakhia, Sykites, Syzygia, Tallaios, Taureos, Taurokeros, Taurophagos, Tauropolos, Tauropon, Tecmessa, Teisipyte, Teleios, Telepyleia,Teletarches, Terpsichore, Thalestris, Thalia, The Dioskouroi, Theos, Theritas, Thermodosa, Thraso, Thyonidas, Thyrsophoros, Tmolene, Toxaris, Toxis, Toxophile,Trevia, Tricephalus, Trieterikos, Trigonos, Trismegestos, Tritogeneia, Tropaios, Trophonius,Tumborukhos, Tyche, Typhon, Urania, Valasca, Xanthippe, Xenios, Zagreus, Zathos, Zephryos , Zeus, Zeus Katakhthonios, Zoophoros Topana

Native American: Gods, Heroes, and Anthropomorphized Facets of Nature

Aakuluujjusi, Ab Kin zoc, Abaangui , Ababinili , Ac Yanto, Acan, Acat, Achiyalatopa , Acna, Acolmiztli, Acolnahuacatl, Acuecucyoticihuati, Adamisil Wedo, Adaox , Adekagagwaa , Adlet , Adlivun, Agloolik , Aguara , Ah Bolom Tzacab, Ah Cancum, Ah Chun Caan, Ah Chuy Kak, Ah Ciliz, Ah Cun Can, Ah Cuxtal, Ah hulneb, Ah Kin, Ah Kumix Uinicob, Ah Mun, Ah Muzencab, Ah Patnar Uinicob, Ah Peku, Ah Puch, Ah Tabai, Ah UincirDz'acab, Ah Uuc Ticab, Ah Wink-ir Masa, Ahau Chamahez, Ahau-Kin, Ahmakiq, Ahnt Alis Pok', Ahnt Kai', Aholi , Ahsonnutli , Ahuic, Ahulane, Aiauh, Aipaloovik , Ajbit, Ajilee , Ajtzak, Akbaalia , Akba-atatdia , Akhlut , Akhushtal, Akna , Akycha, Alaghom Naom Tzentel, Albino Spirit animals , Alektca , Alignak, Allanque , Allowat Sakima , Alom, Alowatsakima , Amaguq , Amala , Amimitl, Amitolane, Amotken , Andaokut , Andiciopec , Anerneq , Anetlacualtiliztli, Angalkuq , Angpetu Wi, Anguta, Angwusnasomtaka , Ani Hyuntikwalaski , Animal spirits , Aningan, Aniwye , Anog Ite , Anpao, Apanuugak , Apicilnic , Apikunni , Apotamkin , Apoyan Tachi , Apozanolotl, Apu Punchau, Aqalax , Arendiwane , Arnakua'gsak , Asdiwal , Asgaya Gigagei, Asiaq , Asin , Asintmah, Atacokai , Atahensic, Aticpac Calqui Cihuatl, Atira, Atisokan , Atius Tirawa , Atl, Atlacamani, Atlacoya, Atlatonin, Atlaua, Atshen , Auilix, Aulanerk , Aumanil , Aunggaak , Aunt Nancy , Awaeh Yegendji , Awakkule , Awitelin Tsta , Awonawilona, Ayauhteotl, Azeban, Baaxpee , Bacabs, Backlum Chaam, Bagucks , Bakbakwalanooksiwae , Balam, Baldhead , Basamacha , Basket Woman , Bead Spitter , Bear , Bear Medicine Woman , Bear Woman , Beaver , Beaver Doctor , Big Heads, Big Man Eater , Big Tail , Big Twisted Flute , Bikeh hozho, Bitol, Black Hactcin , Black Tamanous , Blind Boy , Blind Man , Blood Clot Boy , Bloody Hand , Blue-Jay , Bmola , Bolontiku, Breathmaker, Buffalo , Buluc Chabtan, Burnt Belly , Burnt Face , Butterfly , Cabaguil, Cacoch, Cajolom, Cakulha, Camaxtli, Camozotz, Cannibal Grandmother , Cannibal Woman , Canotila , Capa , Caprakan, Ca-the-ña, Cauac, Centeotl, Centzonuitznaua, Cetan , Chac Uayab Xoc, Chac, Chahnameed , Chakwaina Okya, Chalchihuitlicue, Chalchiuhtlatonal, Chalchiutotolin, Chalmecacihuilt, Chalmecatl, Chamer, Changing Bear Woman , Changing Woman , Chantico, Chaob, Charred Body , Chepi , Chibiabos ,Chibirias, Chiccan, Chicomecoatl, Chicomexochtli, Chiconahui, Chiconahuiehecatl, Chie, Child-Born-in-Jug , Chirakan, Chulyen , Cihuacoatl, Cin-an-ev , Cinteotl, Cipactli, Cirapé , Cit Chac Coh, Cit-Bolon-Tum, Citlalatonac, Citlalicue, Ciucoatl, Ciuteoteo, Cizin, Cliff ogre , Coatlicue, Cochimetl, Cocijo, Colel Cab, Colop U Uichkin, Copil, Coyolxauhqui, Coyopa, Coyote , Cripple Boy , Crow , Crow Woman , Cum hau, Cunawabi , Dagwanoenyent , Dahdahwat , Daldal , Deohako, Dhol , Diyin dine , Djien , Djigonasee , Dohkwibuhch , Dzalarhons , Dzalarhons, Eagentci , Eagle , Earth Shaman , Eeyeekalduk , Ehecatl, Ehlaumel , Eithinoha , Ekchuah, Enumclaw , Eototo, Esaugetuh Emissee , Esceheman, Eschetewuarha, Estanatlehi , Estasanatlehi , Estsanatlehi, Evaki, Evening Star, Ewah , Ewauna, Face , Faces of the Forests , False Faces , Famine , Fastachee , Fire Dogs , First Creator , First Man and First Woman, First Scolder , Flint Man , Flood , Flower Woman , Foot Stuck Child , Ga'an, Ga-gaah , Gahe, Galokwudzuwis , Gaoh, Gawaunduk, Geezhigo-Quae, Gendenwitha, Genetaska, Ghanan, Gitche Manitou, Glispa, Glooskap , Gluscabi , Gluskab , Gluskap, Godasiyo, Gohone , Great Seahouse, Greenmantle , Gucumatz, Gukumatz, Gunnodoyak, Gyhldeptis, Ha Wen Neyu , Hacauitz , Hacha'kyum, Hagondes , Hahgwehdiyu , Hamatsa , Hamedicu, Hanghepi Wi, Hantceiitehi , Haokah , Hastseoltoi, Hastshehogan , He'mask.as , Hen, Heyoka , Hiawatha , Hino, Hisakitaimisi, Hokhokw , Hotoru, Huehuecoyotl, Huehueteotl, Huitaca , Huitzilopochtli, Huixtocihuatl, Hummingbird, Hun hunahpu, Hun Pic Tok, Hunab Ku, Hunahpu Utiu, Hunahpu, Hunahpu-Gutch, Hunhau, Hurakan, Iatiku And Nautsiti, Ich-kanava , Ictinike , Idliragijenget , Idlirvirisong, Igaluk , Ignirtoq , Ikanam , Iktomi , Ilamatecuhtli, Illapa, Ilya p'a, i'noGo tied , Inti, Inua , Ioskeha , Ipalnemohuani, Isakakate, Ishigaq , Isitoq , Issitoq , Ite , Itzamná, Itzananohk`u, Itzlacoliuhque, Itzli, Itzpapalotl, Ix Chebel Yax, Ixbalanque, Ixchel, Ixchup, Ixmucane, Ixpiyacoc, Ixtab, Ixtlilton, Ixtubtin, Ixzaluoh, Iya , Iyatiku , Iztaccihuatl, Iztacmixcohuatl, Jaguar Night, Jaguar Quitze, Jogah , Kaakwha , Kabun , Kabun , Kachinas, Kadlu , Ka-Ha-Si , Ka-Ha-Si , Kaik , Kaiti , Kan, Kana'ti and Selu , Kanati, Kan-u-Uayeyab, Kan-xib-yui, Kapoonis , Katsinas, Keelut , Ketchimanetowa, Ketq Skwaye, Kianto, Kigatilik , Kilya, K'in, Kinich Ahau, Kinich Kakmo, Kishelemukong , Kisin, Kitcki Manitou, Kmukamch , Kokopelli , Ko'lok , Kukulcan, Kushapatshikan , Kutni , Kutya'I , Kwakwakalanooksiwae ,Kwatee , Kwekwaxa'we , Kwikumat , Kyoi , Lagua , Land Otter People , Lawalawa , Logobola , Loha, Lone Man , Long Nose , Loon , Loon Medicine , Loon Woman , Loo-wit, Macaw Woman, Macuilxochitl, Maho Peneta, Mahucutah, Makenaima , Malesk , Malina , Malinalxochi, Malsum, Malsumis , Mam, Mama Cocha, Man in moon , Manabozho , Manetuwak , Mani'to, Manitou , Mannegishi , Manu, Masaya, Masewi , Master of Life , Master Of Winds, Matshishkapeu , Mavutsinim , Mayahuel, Medeoulin , Mekala , Menahka, Meteinuwak , Metztli, Mexitl, Michabo, Mictecacihuatl, Mictlan, Mictlantecuhtli, Mikchich , Mikumwesu , Mitnal, Mixcoatl, Mongwi Kachinum , Morning Star, Motho and Mungo , Mulac, Muut , Muyingwa , Nacon, Nagenatzani, Nagi Tanka , Nagual, Nahual, Nakawé, Nanabojo, Nanabozho , Nanabush, Nanahuatzin, Nanautzin, Nanih Waiya, Nankil'slas , Nanook , Naum, Negafook , Nerrivik , Nesaru, Nianque , Nishanu , Nohochacyum, Nokomis, Nootaikok , North Star, Nujalik , Nukatem , Nunne Chaha , Ocasta, Ockabewis, Odzihozo , Ohtas , Oklatabashih, Old Man , Olelbis, Omacatl, Omecihuatl, Ometecuhtli, Onatha , One Tail of Clear Hair , Oonawieh Unggi , Opochtli, Oshadagea, Owl Woman , Pah , Pah, Paiowa, Pakrokitat , Pana , Patecatl, Pautiwa, Paynal, Pemtemweha , Piasa , Pikváhahirak , Pinga , Pomola , Pot-tilter , Prairie Falcon , Ptehehincalasanwin , Pukkeenegak , Qaholom, Qakma, Qiqirn , Quaoar , Quetzalcoatl, Qumu , Quootis-hooi, Rabbit, Ragno, Raven, Raw Gums , Rukko, Sagamores , Sagapgia , Sanopi , Saynday , Sedna, Selu, Shakuru, Sharkura, Shilup Chito Osh, Shrimp house, Sila , Sint Holo , Sio humis, Sisiutl , Skan , Snallygaster , Sosondowah , South Star, Spider Woman , Sta-au , Stonecoats , Sun, Sungrey , Ta Tanka , Tabaldak , Taime , Taiowa , Talocan, Tans , Taqwus , Tarhuhyiawahku, Tarquiup Inua , Tate , Tawa, Tawiscara, Ta'xet , Tcisaki , Tecciztecatl, Tekkeitserktock, Tekkeitsertok , Telmekic , Teoyaomqui, Tepeu, Tepeyollotl, Teteoinnan, Tezcatlipoca, Thobadestchin, Thoume', Thunder , Thunder Bird , Tieholtsodi, Tihtipihin , Tirawa , Tirawa Atius, Tlacolotl, Tlahuixcalpantecuhtli, Tlaloc, Tlaltecuhtli, Tlauixcalpantecuhtli, Tlazolteotl, Tohil, Tokpela ,Tonantzin , Tonatiuh, To'nenile, Tonenili , Tootega , Torngasak, Torngasoak , Trickster/Transformer , True jaguar, Tsentsa, Tsichtinako, Tsohanoai Tsonoqwa , Tsul 'Kalu , Tulugaak , Tumas , Tunkan ingan, Turquoise Boy , Twin Thunder Boys, Txamsem , Tzakol, Tzitzimime, Uazzale , Uchtsiti, Udó , Uentshukumishiteu , Ueuecoyotl, Ugly Way , Ugni , Uhepono , Uitzilopochtli, Ukat , Underwater Panthers , Unhcegila , Unipkaat , Unk, Unktomi , Untunktahe , Urcaguary, Utea , Uwashil , Vassagijik , Voltan, Wabosso , Wabun , Wachabe, Wah-Kah-Nee, Wakan , Wakanda , Wakan-Tanka, Wakinyan , Wan niomi , Wanagi , Wananikwe , Watavinewa , Water babies , Waukheon , We-gyet , Wemicus , Wendigo , Wentshukumishiteu , White Buffalo Woman, Whope , Wi , Wicahmunga , Wihmunga , Windigo, Winonah, Wisagatcak , Wisagatcak, Wishpoosh , Wiyot , Wovoka , Wuya , Xaman Ek, Xelas , Xibalba, Xilonen, Xipe Totec, Xiuhcoatl, Xiuhtecuhtli, Xiuhtecutli, Xmucane, Xochipili , Xochiquetzal, Xocotl, Xolotl, Xpiyacoc, Xpuch And Xtah, Yacatecuhtli, Yaluk, Yanauluha , Ya-o-gah , Yeba Ka, Yebaad, Yehl , Yeitso, Yiacatecuhtli, Yolkai Estsan, Yoskeha , Yum Kaax, Yuwipi , Zaramama, Zipaltonal, Zotz

Norse Deities, Giants and Monsters:

Aegir, Aesir, Alfrigg, Audumbla, Aurgelmir, Balder, Berchta, Bergelmir, Bor, Bragi, Brisings, Buri, Etin, Fenris, Forseti, Frey, Freyja, Frigga, Gefion, Gerda, Gode, Gymir, Harke, Heimdall, Hel, Hermod, Hodur, Holda, Holle, Honir, Hymir, Idun, Jormungandr, Ljolsalfs, Loki, Magni, Mimir, Mistarblindi, Muspel, Nanna, Nanni, Nerthus, Njord, Norns, Odin, Perchta, Ran, Rig, Segyn, Sif, Skadi, Skirnir, Skuld, Sleipnir, Surt, Svadilfari, tanngniotr, tanngrisnr, Thiassi, Thor, Thrud, Thrudgelmir, Thrym, Thurs, Tyr, Uller, Urd, Vali, Vali, Valkyries, Vanir, Ve, Verdandi, Vidar, Wode, Ymir

Pacific islands: Deities, Demigods and Immortal Monsters:

Abeguwo, Abere, Adaro, Afekan, Ai Tupua'i, 'Aiaru, Ala Muki, Alalahe, Alii Menehune, Aluluei, Aruaka, Asin, Atanea, Audjal, Aumakua, Babamik, Bakoa, Barong, Batara Kala, Buring Une, Darago, Dayang-Raca, De Ai, Dogai, Enda Semangko, Faumea, Giriputri, Goga, Haumea, Hiiaka', Hina, Hine, Hoa-Tapu, 'Imoa, Io, Kanaloa, Kanaloa, Kane, Kapo, Kava, Konori, Ku, Kuhuluhulumanu, Kuklikimoku, Kukoae, Ku'ula, Laka, Laulaati, Lono, Mahiuki, MakeMake, Marruni, Maru, Maui, Melu, Menehune, Moeuhane, MOO-LAU, Ndauthina, Ne Te-reere, Nevinbimbaau, Ngendei, Nobu, Oro, Ove, Paka'a, Papa, Pele, Quat, Rangi, Rati, Rati-mbati-ndua, Ratu-Mai-Mbula, Rua, Ruahatu, Saning Sri, Ta'aroa, Taaroa, Tamakaia, Tane, Tanemahuta, Tangaroa, Tawhaki, Tiki, Tinirau, Tu, Tuli, Turi-a-faumea, Uira, Ukupanipo, Ulupoka, Umboko Indra, Vanuatu, Wahini-Hal, Walutahanga, Wari-Ma-Te-Takere, Whaitiri, Whatu, Wigan

South American: Deities, Demigods, Beings of Divine Substance:

Abaangui, Aclla, Akewa, Asima Si, Atoja, Auchimalgen, Axomama, Bachué, Beru, Bochica, Boiuna, Calounger, Catequil, Cavillaca, Ceiuci, Chasca, Chie, Cocomama, Gaumansuri, Huitaca, Iae, Ilyap'a, Ina, Inti, Ituana, Jamaina , Jandira, Jarina, Jubbu-jang-sangne, Ka-ata-killa, Kilya, Kuat, Kun, Luandinha, Lupi, Mama Allpa, Mama Quilla, Mamacocha, Manco Capac, Maret-Jikky, Maretkhmakniam, Mariana, Oshossi, Pachamac, Pachamama, Perimbó, Rainha Barba, Si, Supai, Topétine, Viracocha, Yemanja (Imanje), Zume

Submitted May 28, 2023 at 04:42PM by dreamer100__ (From Reddit https://ift.tt/uTlQcN4)

Jonathan Chang and Nien-Jen Wu in Yi Yi (Edward Yang, 2000)

Cast: Nien-Jen Wu, Issei Ogata, Elaine Jin, Kelly Lee, Jonathan Chang, Hsi-Sheng Chen, Su-Yun Ko, Chuan-Chen Tao, Shu-shen Hsiao, Pang Chang Yu. Screenplay: Edward Yang. Cinematography: Wei-Han Yang. Production design: Peng. Film editing: Po-Wen Chen. Music: Kai-Li Peng. 

In his Criterion Collection essay on Yi Yi, Kent Jones does something that I endorse completely: He compares writer-director Edward Yang's film to the work of George Eliot. As I was watching Yi Yi, I kept thinking that it gave me the same satisfaction that a good novel does: that of participating in the lives of people I would never know otherwise. George Eliot's aesthetic was based on the premise that art serves to enlarge human sympathy. It's an idea echoed in the film by a character who quotes his grandfather saying that since the introduction of motion pictures, we now live three times longer than we did before -- we experience that many more things  The remark in context is ironic, given that the character, a teenager (Pang Chang Yu) who will later commit a murder, mentions killing as one of the experiences now vicariously afforded to us by movies. But the general import of the observation stands: Yi Yi gives us the sweep of life, beginning with a wedding and ending with a funeral, and taking in along the way birth, found and lost love, and other experiences of the Jian family and acquaintances in Taiwan. The central character, N.J. (Nien-Jen Wu), is a businessman caught up in the machinations of his company while trying to deal with family problems: His mother-in-law suffers a stroke and lies comatose; his brother-in-law's wedding to a pregnant bride is interrupted by a furious ex-girlfriend; his wife has an emotional breakdown and leaves for a Buddhist retreat in the mountains; his daughter, Ting-Ting (Kelly Lee), is in the throes of adolescent self-consciousness and blames herself because her grandmother suffered a stroke while taking out the garbage Ting-Ting had been told to take care of; his small son, Yang-Yang (Jonathan Chang), refuses to join the family in taking turns talking to his comatose grandmother, and he keeps getting in trouble at school. And these matters are complicated by the reappearance of N.J.'s old girlfriend, Sherry (Sun-Yun Ko), now married to a Chicago businessman, who joins N.J. in Tokyo on a business trip that puts him at odds with his company. The separate experiences of N.J., Ting-Ting, and Yang-Yang overlap and sometimes ironically counterpoint one another, and the film is laced together by recurring images and themes. Although it's three hours long, Yi Yi never seems slack. A lesser director would have cut some of the sequences not essential to the narrative, such as the performances of Beethoven's "Moonlight" Sonata and the Cello Sonata No. 1, or the long pan across the lighted office windows in nighttime Taipei, but these give an essential emotional lift to a film that has rightly been called a masterwork.

Yi Yi (2000, Taiwan)

At the beginning of Edward Yang’s Yi Yi (translated as “A one and a two…”), the film samples a piece adapted from the final movement of Ludwig van Beethoven’s Symphony No. 9. That movement, containing the “Ode to Joy” (its lyrics from a poem of the same name), was the composer’s refutation of a belief he held when he was younger – the necessity for heroic revolutionary leaders to deliver freedom to the masses. Napoleon’s declaration of himself as Emperor and the decisions made by the Congress of Vienna in 1804 and 1814-1815, respectively, obliterated political freedoms across Europe in favor of repressive police states. Beethoven was disillusioned by these developments. By the time of the Ninth Symphony’s debut, he was completely deaf and had endured decades of intense suffering. Within the lyrics in the “Ode to Joy” was Beethoven’s statement celebrating Enlightenment ideals – universal brotherhood in diversity, liberty, and an individual’s right to the pursuit of happiness. The pursuit of happiness, of course, guarantees neither happiness nor self-fulfillment, as Beethoven himself must have known. In that spirit, Edward Yang’s final film follows a middle-class Taiwanese family as each family member grasps for meaning and purpose. Films as keenly observant of the daily joys and disappointments of life such as Yi Yi are rare. It is a masterpiece of filmmaking and human drama.

Just before the turn of the twentieth to the twentieth-first century in Taipei lives the Jian family. Father NJ (Wu Nien-jen), mother Min-Min (Elaine Jin), teenage daughter Ting-Ting (Kelly Lee), and eight-year-old son Yang-Yang (Jonathan Chang) are attending the wedding reception of Min-Min’s brother A-Di (Chen His-Sheng). Shortly after the reception, Min-Min’s mother (Tang Ru-yun) falls ill and has a stroke. After emergency intervention and treatment in the hospital, she remains comatose following her discharge. But even before this development, Edward Yang has been laying the groundwork for his film’s intricate, but comprehensible, structure.

The film divides its time between the Jians, maintaining a delicate balance throughout (even if Min-Min is largely absent in the film’s second half). Downstairs from the wedding reception, NJ has a chance encounter with his ex-girlfriend Sherry (Ko Su-yun). Sherry wants to reconnect, answer lingering questions. Years removed from their relationship, NJ is busy with an unfulfilling job and an incoming visitor in Japanese businessman Mr. Ota (Issey Ogata). Min-Min – who falls into a depression upon seeing her mother’s comatose state – leaves for a Buddhist monastery well after Yi Yi settles into its rhythm. She only resurfaces just before the conclusion. At fourteen years old, Ting-Ting is witnessing others pursue romance as she develops romantic feelings of her own. As many former teenagers know, those are awkward years, guided by nothing resembling one’s present wisdom. The target of his classmates’ bullying and frequent condescending remarks from his teacher, Yang-Yang goes about his life mostly alone. Yet in his loneliness and quiet, he observes others astutely. “Daddy,” he asks, “I can’t see what you see and you can’t see what I see. How can I know what you see?… can we only know half of the truth?”

Yi Yi’s characters grapple with the unknowable, the misunderstood, and the unspoken truths that are just in front of them. Their stories interweave with each other’s, forming a current rippling gently through each of their lives. Characters are occasionally seen through windows with the camera positioned outside – at times obscured by a glare, at times seen clearly. In the former, the glare suggests the barriers of communication and temperament people develop for their own survival and sanity, or perhaps to delay something unpleasant and inevitable. When no glares are present, there is less conversational or behavioral pretense. But in those moments, the characters’ feelings of isolation – from family, friends, or society – envelop the frame. In each instance, Yang (who also wrote the film’s screenplay) and cinematographer Yang Wei-han (1985’s Taipei Story, 2008’s 1895) capture each character’s disorientation in navigating the course of their lives amid a bustling metropolis. These shots through the window also encapsulate how difficult it is for us to understand the perspectives of others. Yang-Yang could be onto something; maybe the best we can hope for is to know half of any human truth.

Those who have seen their share of Japanese cinema may already know what a pillow shot is (or at least the concept of one without knowing the term), and Yang uses something like this technique Yasujirô Ozu perfected in order to have the audience reflect on the scene that has just occurred. Instead of a silent moment intercut with shots of sides of buildings, power lines, neon signs, or tea kettles, Yang elects to have additional dialogue or music. Perhaps it comes in the form of Mr. Ota singing “Sukiyaki” (a song wracked with bitter disappointment in its lyrics) and following up by playing Beethoven’s Moonlight Sonata while tipsy (Beethoven yet again!), Ting-Ting being annoyed by vocal patrons in a bagel joint, or Yang-Yang escaping his furious teacher by walking into a darkened auditorium where a different class is watching a science documentary. These moments, like Ozu’s pillow shots, have little to do with the film’s overarching storylines. They might serve as moments of characterization but they are, generally, instances of cinematic punctuation. Oftentimes, that punctuation is an ellipses, as many – not all – of the film’s most pivotal moments occur off-screen.

What does Yang unearth in these moments of reflection? The clash of Taiwanese and Western life elements is an aspect of Yi Yi – one could conceivably interpret the film of how the latter has disrupted the former to the detriment of the characters – but Yang does not seem interested in crafting a polemic. Some viewers who might not be as well-versed in modern Asian culture might be surprised by how simultaneously cosmopolitan and traditional Yi Yi may feel. A comedic trip to McDonalds, the Western cultural products, and the use of English in all conversations between NJ and Mr. Ota aside, the issues and conflicted feelings that arise are universal. Yi Yi does not challenge Confucian mores of family and traditional relationships, even if it occasionally pokes fun at tradition. Even though both of the Jian kids are largely left to their own devices (a combination of their father’s long work hours and their mother’s leave of absence to the monastery), they do not defy authority figures for the sake of defiance.

There are a handful of supporting figures in the film that are having sordid affairs. But these affairs, according to the film, are pathetic and self-debasing – no additional commentary required. Through the prisms of love or friendship, each character is lonely in some fashion. Each family member, with Yang-Yang the exception, acts upon their longing for connection, romantic or platonic, in search of their evolving (and, arguably, never fully-formed) idealizations of how their lives should be. Family life is not the sole defining foundation of modern human existence, as Yang is acutely aware of. And yet, even amid emotional strife and the flurry of activity across the film’s 173 minutes, it is the most stable, predictable, and life-affirming part of each character’s life.

At first glance, it might seem that Yang-Yang is a passive young boy, who only allows things to happen to him. It is difficult to describe this in a reasonable amount of time, but Yang-Yang goes about his life silently, undemandingly, without pursuing childhood notions of friendship or first crushes. It seems Yang-Yang is always observing with his eyes and the lens of his camera. The photos he takes capture things and facets of others that never appear in photographs – the other side of the half of the truth humans can understand. Upon the first presentation of these photos and the ideas behind them to his classmates and teacher, derision follows. But Yang-Yang’s wisdom appears in the film’s final minutes in solemn voice and an acceptance beyond his years. Maybe Yang-Yang’s motivations disappear with age and the pressing concerns of modernity, but his burden is now the viewer’s to bear.

Yi Yi cannot be as effective as it is without its ensemble cast. Though most of the cast are understated, each of their characters occupy their individual stillness and silences in their respective ways. As NJ, Wu Nien-jen portrays a middle-aged man better at internalizing a conflict of personalities than intervening in one. His presence always seems deep in thought, even if he cannot find the words to say immediately how he feels. For Kelly Lee as Ting-Ting, the character is soon to enter her early adult years to a world already so different from when she was younger. Lee’s elegant screen persona reminds me of the many silent film waifs – reticent, shy, earnest – that the likes of Mary Pickford might have played once. Jonathan Chang, the film’s anchor in Yang-Yang, portrays his character without any noticeable exaggerations in voice or physical movement. In silence, Chang makes his presence felt in translating a character exactly as written. And though just a supporting character with little screentime, Issey Ogata as Mr. Ota assumes a bilingual charm – and perhaps the closest the film ever comes to blurring the distinction between screenwriter and character.

This, Edward Yang’s final film before his untimely death in 2007, is the motion picture that cemented his reputation outside Taiwan. Premiering at the 2000 Cannes Film Festival, Yi Yi garnered widespread acclaim, a nomination for the Palme d’Or, and a Best Director win for Yang. His reputation across the world has only increased in recent years, thanks to home media releases of this film, Taipei Story (1985), and the dramatic epic A Brighter Summer Day (1991).

Viewers could mourn Yang’s passing as an auteur who never lived to become an international living legend of a director, or the sheer democratization and globalization of cinema that has taken place in the early twenty-first century that would have made such a distinction possible. Instead, in just considering Yi Yi by itself, we have a complete movie – one where every frame has purpose, and the viewer can accept the person that they have become and may still be. Yi Yi affirms a message that Yang and composer Peng Kai-li quote, musically, in the film’s opening minutes. The individual freedom to find one’s own happiness and fulfillment will result in suffering. Such is to exist. Such is to be human. In that suffering, one experiences the possibilities of empathy and the fullness of their humanity.

My rating: 10/10

^ Based on my personal imdb rating. Yi Yi is the one hundred and sixty-third feature-length or short film I have rated a ten on imdb. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

A Guide to Taiwanese Name Romanization

Have you ever wondered why there are so many Changs when the surname 常 is not actually that common? Have you ever struggled to figure out what sound “hs” is? Well don’t worry! Today we are going to go over some common practices in transliterating names from Taiwan. 

With some recent discussion I’ve seen about writing names from the Shang-Chi movie, I thought this was the perfect time to publishe this post. Please note that this information has been compiled from my observations--I’m sure it’s not completely extensive. And if you see any errors, please let me know!

According to Wikipedia, “the romanized name for most locations, persons and other proper nouns in Taiwan is based on the Wade–Giles derived romanized form, for example Kaohsiung, the Matsu Islands and Chiang Ching-kuo.” Wade-Giles differs from pinyin quite a bit, and to make things even more complicated, transliterated names don’t necessarily follow exact Wade-Giles conventions.

Well, Wikipedia mentioned Kaohsiung, so let’s start with some large cities you already know of!

[1] B → P 台北 Taibei → Taipei [2] G → K [3] D → T In pinyin, we have the “b”, “g”, and “d” set (voiceless, unaspirated) and the “p”, “k”, and “t” set (voiceless, aspirated). But in Wade-Giles, these sets of sounds are distinguished by using a following apostrophe for the aspirated sounds. However, in real life the apostrophe is often not used.

We need some more conventions to understand Kaohsiung. [4] ong → ung (sometimes) [5] X → Hs or Sh 高雄 Gaoxiong → Kaohsiung I wrote “sometimes” for rule #4 because I am pretty sure I have seen instances where it is not followed. This could be due to personal preference, historical reasons, or influence from other romanization styles.

Now some names you are equipped to read: 王心凌 Wang Xinling → Wang Hsin-ling 徐熙娣 Xu Xidi → Shu/Hsu Hsi-ti (I have seen both) 黄鸿升 Huang Hongsheng → Huang Hung-sheng 龙应台 Long Yingtai → Lung Ying-tai 宋芸樺 Song Yunhua → Sung Yun-hua

You might have learned pinyin “x” along with its friends “j” and “q”, so let’s look at them more closely. [6] J → Ch [7] Q → Ch 范玮琪 Fan Weiqi → Fan Wei-chi 江美琪 Jiang Meiqi → Chiang Mei-chi 郭静 Guo Jing → Kuo Ching 邓丽君 Deng Lijun → Teng Li-chun This is similar to the case for the first few conventions, where an apostrophe would distinguish the unaspirated sound (pinyin “j”) from the aspirated sound (pinyin “q”). But in practice these ultimately both end up as “ch”. I have some disappointing news.

[8] Zh → Ch Once again, the “zh” sound is the unaspirated correspondent of the “ch” sound. That’s right, the pinyin “zh”, “j”, and “q” sounds all end up being written as “ch”. This can lead to some...confusion. 卓文萱 Zhuo Wenxuan → Chuo Wen-hsuan 陈绮贞 Chen Qizhen → Chen Chi-chen 张信哲 Zhang Xinzhe → Chang Shin-che At least now you finally know where there are so many Changs. Chances are, if you meet a Chang, their surname is actually 张, not 常.

Time for our next set of rules. [10] C → Ts [11] Z → Ts [12] Si → Szu [13] Ci, Zi → Tzu Again we have the situation where “c” is aspirated and “z” is unaspirated, so the sounds end up being written the same. 曾沛慈 Zeng Peici → Tseng Pei-tzu 侯佩岑 Hou Peicen → Hou Pei-tsen 周子瑜 Zhou Ziyu → Chou Tzu-yu 黄路梓茵 Huang Lu Ziyin → Huang Lu Tzu-yin 王思平 Wang Siping → Wang Szu-ping

Fortunately this next convention can help clear up some of the confusion from above. [14] i → ih (zhi, chi, shi) [15] e → eh (-ie, ye, -ue, yue) Sometimes an “h” will be added at the end. So this could help distinguish some sounds. Like you have qi → chi vs. zhi → chih. There could be other instances of adding “h”--these are just the ones I was able to identify. 曾之乔 Zeng Zhiqiao → Tseng Chih-chiao 施柏宇 Shi Boyu → Shih Po-yu 谢金燕 Xie Jinyan → Hsieh Jin-yan 叶舒华 Ye Shuhua → Yeh Shu-hua 吕雪凤 Lü Xuefeng → Lü Hsueh-feng

Continuing on, a lot of the conventions below are not as consistently used in my experience, so keep that in mind. Nevertheless, it is useful to be familiar with these conventions when you do encounter them.

[16] R → J (sometimes) Seeing “j” instead of “r” definitely confused me at first. Sometimes names will still use “r” though, so I guess it is up to one’s personal preferences. 任贤齐 Ren Xianqi → Jen Hsien-chi 任家萱 Ren Jiaxuan → Jen Chia-hsüan 张轩睿 Zhang Xuanrui → Chang Hsuan-jui

[17] e → o (ke, he, ge) I can see how it would easily lead to confusion between ke-kou, ge-gou, and he-hou, so it’s important to know. I’ve never seen this convention for pinyin syllables like “te” or “se” personally. 柯震东 Ke Zhendong → Ko Chen-tung 葛仲珊 Ge Zhongshan→ Ko Chung-shan

[18] ian → ien [19] Yan → Yen I’ve observed that rule 18 seems more common than 19 because I see “yan” used instead of “yen” a fair amount. I’m not really sure why this is. 柯佳嬿 Ke Jiayan → Ko Chia-yen 田馥甄 Tian Fuzhen → Tien Fu-chen 陈建州 Chen Jianzhou → Chen Chien-chou 吴宗宪 Wu Zongxian → Wu Tsung-hsien

[20] Yi → I (sometimes) I have seen this convention not followed pretty frequently, but two very famous names are often in line with it. 蔡英文 Cai Yingwen → Tsai Ing-wen 蔡依林 Cai Yilin → Tsai I-lin

[21] ui → uei I have seen this convention used a couple times, but “ui” seems to be much more common. 蔡立慧 Cai Lihui → Tsai Li-huei

[22] hua → hwa This is yet another convention that I don’t always see followed. But I know “hwa” is often used for 华 as in 中华, so it’s important to know. 霍建华 Huo Jianhua → Huo Chien-hwa

[23] uo → o This is another example of where one might get confused between the syllables luo vs. lou or ruo vs. rou. So be careful! 罗志祥 Luo Zhixiang → Lo Chih-hsiang 刘若英 Liu Ruoying → Liu Jo-ying 徐若瑄 Xu Ruoxuan → Hsu Jo-hsuan

[24] eng → ong (feng, meng) I think this rule is kinda cute because some people with Taiwanese accents pronounce meng and feng more like mong and fong :) 权怡凤 Quan Yifeng → Quan Yi-fong

[25] Qing → Tsing I am not familiar with the reasoning behind this spelling, but 国立清华大学 in English is National Tsing Hua University, so this spelling definitely has precedence. But I also see Ching too for this syllable. 吴青峰 Wu Qingfeng→ Wu Tsing-fong

[26] Li → Lee Nowadays a Chinese person from the Mainland would probably using the Li spelling, but in other areas, Lee remains more common. 李千那 Li Qianna → Lee Chien-na

[27] Qi → Chyi I have noticed this exception. However, I’ve only personally noticed it for this surname, so maybe it’s just a convention for 齐. 齐秦 Qi Qin → Chyi Chin 齐豫 Qi Yu → Chyi Yu

[28] in ←→ ing In Taiwanese Mandarin, these sounds can be merged, so sometimes I have noticed ling and lin, ping and pin, etc. being used in place of each other. I don’t know this for sure, but I suspect this is why singer A-Lin is not A-Ling (her Chinese name is 黄丽玲/Huang Liling).

[29] you → yu I personally haven’t noticed these with other syllables ending in “ou,” only with the “you” syllable. 刘冠佑 Liu Guanyou → Liu Kuan-yu 曹佑宁 Cao Youning → Tsao Yu-ning

There is a lot of variation with these transliterated names. There are generally exceptions galore, so keep in mind that all this is general! Everyone has their own personal preferences. If you just look up some famous Taiwanese politicians, you will see a million spellings that don’t fit the 28 conventions above. Sometimes people might even mix Mandarin and another Chinese language while transliterating their name.

Anyway, if any of you know why 李安 is romanized as Ang Lee, please let me know because it’s driving me crazy.

Note: The romanized names I looked while writing this post at were split between two formats, capitalizing the syllable after the hyphen and not capitalizing this syllable. I chose to not capitalize for all the names for the sake of consistency. I’m guessing it’s a matter of preference.

MV | 田馥甄 一一 - Hebe Tien One,after Another from Grass Jelly on Vimeo.

Published by：Pourquoi Pas Music Limited 何樂音樂有限公司 Executive Producer：Benoit Chen 陳信榮 CEO：Ching Wu 吳怡青 Music Director：George Chen 陳建騏 Marketing Director：Tim Lin 林建良 Marcom Specialist：Wewe Liu 劉子瑋 Press Promotion：Harry Yang 楊宗翰 Marketing Executive：Tin Ting 丁佩舟 / Ning Chiu 邱羿寧 Internet & Activity Promotion Executive：Boa Hu 胡寶彩 Video Photographer：Ning Chiu 邱羿寧 Still Photographer：Ray Chang 張芮

Management Company：A TUNE MUSIC CO., LTD 樂來樂好有限公司 General Manager：Hui-Cheng Liao 廖彗呈 Planning Manager：Elaine Wu 吳玫瑱 Project Manager：Shang-Chih Huang 黃尚智 Project Executive：Tori Yen 顏思瑜

Stylist：Chi-Lun Fang 方綺倫 Stylist Assistant：Mengchu Yang 楊孟築 Couture Making：Yu-Hao Chang 張祐豪 Hair Stylist：Johnny Ho @ Hair Culture Makeup：Queena Tseng 曾宥寧 Choreography Consultant：Chou Shu-Yi 周書毅

Lyricist：Radio Mars 火星電台 Composer：Radio Mars 火星電台 Producer：Radio Mars 火星電台 Arrangement：Radio Mars 火星電台 Acoustic Guitar：Yu Zeng 曾宇 Bass：Yang Han 韓陽 Drum：Yongheng Wu 貝貝 (武勇恆) Trumpet：Xiaochuan Li 李曉川 Backing Vocals Arrangement：Hebe Tien 田馥甄 / Shaofeng Huang 黃少峰 Backing Vocal：Hebe Tien 田馥甄 Recording Engineers：Adam Huang 黄欽勝 / Alex 阿烈 Recording Studios：Mega Force Studio 強力錄音室 / MDD Studio 北京 / Soundhub Studios 上海升赫錄音棚 Mixing Engineer：Adam Huang 黄欽勝 Mixing Studio：Mega Force Studio 強力錄音室 Mastering Studio：FLAIR MASTERING WORKS Mastering Engineer：UCHIDA TAKAHIRO 內田孝弘 OP：北京飛行者音樂科技有限公司 SP：北京飛行者音樂科技有限公司 Sound Effect：FORGOOD SOUND 好多聲音

Production DEPT.： Production House：Grass Jelly Studio 仙草影像 Director：Muh Chen 陳奕仁 Assistant Director：Xiao Chi Lin 林曉娸 Director’s Assistant：Vege Tsai 蔡馨慧

Producer：Hanson Wang 王漢聲 @ Wang’s Studio 聲意旺影音工作室 Line Producer： Hsi Hao Wang 王璽皓 / Karen Liang 梁紋綾 / Yi Cen Lin 林宜岑

D.P.：Dantol Peng 彭文星 1st Asst. Camera：Yu Hao Liu 劉于豪 Camera Assistant：Shang Ju Yang 楊尚儒 / Che Ming Chang 張哲銘 Equipment (BOLT)： Ting Kuan Chung 丁冠中 / Ting Kuan Chieh 丁冠傑 / Chien Hsu Tu 凃健旭 / Chao Hsiang Wang 王朝祥

Gaffer：Pony Ma 馬銘財 Best Boy Electrician：Yu Sheng Gao 高煜盛 / Jun Rong Tian 田峻榮 Electrician： Keng Hua Kuo 郭耿華 / Guo Min Lin 林國民 / Chen Wei Lin 林辰緯

Art Director：Mingko Wang 王閔可 Set Decorator：Bobby Wang 王敬捷 Art Assistant：Pei Chi Huang 黃霈琪 / Yi Suan Chen 陳宜瑄 Best Boy Grip： Jyun Ying Siao 蕭郡英 / You Cheng Huang 黃宥誠 / Chen Wei Huang 黃辰煒 / Guo Min Lin 林國民 / Ming Lung Wu 吳明龍 / Tzu Chi Fan 范子薺 / Chia Chieh Li 李加杰

Scenic：阿榮道具制作室 Chien Min Chien 簡建民 / Chien Sung Chien 簡建松

Stylist：Yu Ping 郁萍 / Barbie Chen 陳八比 @ Mii2styling 米兔皇造型工作室 Makeup & Hairstyle： Ching Yi Chen 陳靜怡 / Liang Yu Huang 黃亮瑜 / Zhen Hao Chiu 邱楨皓 / Hsin Wei Wang 王伈葦 / Chiao Wei Chang 張巧薇

Casting：Gime 蘇錦銘 Talent List：Tai Chong Chen 陳泰中 / Okashi Lu 呂美潔 / Ryan Hsieh 謝東豪 / Ching Chiang Wang 王靖江 / Hsi Hao Wang 王璽皓 / Ya Huang Lee 李雅煌 / Kevin Yang 楊宗昇 / Li Tai Cheng 鄭禮岱 / Daniel Chen 陳少卉

Camera Rental：Leader Asia Pacific Creativity Center 利達數位影音科技股份有限公司 Studio & Lighting Rental： Hong Chen Film Studio 鴻臣實業有限公司 Equipment：LEE RONG FILM & TV EQUIPMENT CO. 力榮影業有限公司

Virtual Camera for Previsualization： MoonShine Virtual Studio 夢想動畫虛擬攝影棚

Post-Production House：Grass Jelly Studio 仙草影像 Executive Producer：Eliza Lee 李依蒨 / Okashi Lu 呂美潔 Project Manager： Roddy Hung 洪凡柔 / Ekijo Lai 賴奕如 Financial Manager：Lulu Chen 陳奕如

CG & Compositing Lead： Greg Miao 苗天雨

Story： Muh Chen 陳奕仁 / Castor Ou 歐聰瑩 / Yu Shuo Leung 梁育碩 / Both Li 李季軒 / Xiao Chi Lin 林曉娸 / QB Lian 連又潔 / Meiling Chen 陳美齡 / Yutzu Liu 劉又慈

Storyboard： Yu Shuo Leung 梁育碩

Concept Designer： Yu Shuo Leung 梁育碩 / Castor Ou 歐聰瑩 / Both Li 李季軒 / QB Lian 連又潔 / Meiling Chen 陳美齡 / Yutzu Liu 劉又慈

3D Animator： Skip Chen 陳慈仁 / Janet Wang 王玨凝 / Youzi Su 蘇袖惠 / Nigel Huang 黃勗 / Eason Chen 陳家和 / Yu Hsuan Huang 黃于瑄 / Yuki Chou 周祐諆

3D Animator Assistant： Jia Yu Chen 陳家榆 / Ting Yi Lu 呂庭儀

VFX Artist： Skip Chen 陳慈仁 / Jerry Liu 劉至弘 / Yu Hsuan Huang 黃于瑄

Roto Artist： Bio Luo 駱信宏 / Ruth Yu 余如晨 / Bono Chang 張暐明 / Sharon Lee 李淑娟 / Sean Tsai 蔡尚甫 / Szu Tzu Huang 黃思慈 / Meng Cheng Hsieh 謝孟成 / Sean Lin 林昱燊 / Laba Lee 李建緯

Compositing： Wen Ting Li 李文婷 / Nigel Huang 黃勗 / Eason Chen 陳家和 / Ching Chi 冀擎

Compositor’s Assistant： Yuki Chou 周祐諆 / Yu Hsuan Huang 黃于瑄 / Jerry Liu 劉至弘 / Jia Yu Chen 陳家榆 Grading：Pixelfly Digital 傳翼數位影像 / Moya Chou 周佳聖

指導單位：文化部 主辦單位：文化內容策進院 特別感謝：IP內容實驗室 製作協力 　　　　　 財團法人工業技術研究院 　　　　　 2020.06

Mecanoo cloaks palatial Tainan Public Library with decorative aluminium cladding

Patterned aluminium panels wrap the stepped exterior of the Tainan Public Library, which Dutch studio Mecanoo and local office MAYU Architects have completed in southern Taiwan.

The 37,000-square-metre library, located in the city of Tainan, houses over a million books, alongside collections of music, films and modern art.

Its palatial, staggered form was designed by Mecanoo and MAYU Architects to pay homage to local vernacular, including the city's old temples with cantilevered roofs.

Above: Tainan Public Library references local temples. Top image: it has an inverted stepped form

"The oldest city in Taiwan, Tainan has a rich history influenced by different cultures," explained Mecanoo.

"There are remnants of maritime trade with Europe in the 17th century, of the Chinese Ming Dynasty and Japanese settlements from the beginning of the 20th century."

It is wrapped in decorative aluminium cladding

"The city is rich in temples, including the famous 17th century Confucius Temple with its cantilevered roofs and beautifully carved ceilings," added the studio.

"The new library takes from this history, is inspired by the local culture and has been designed for the tropical climate of Tainan."

Its stepped form creates sheltered outdoor space

From afar, Tainan Public Library is distinguished by its large, overhanging upper floor, which is enclosed by aluminium panels adorned with ornate, floral cut-outs.

According to Mecanoo, these panels are modelled on "latticed windows in the old town" and are designed to filter out light and heat during the day while illuminating the building at night.

Its overhanging over floor distinguishes the building from afar

While referencing local vernacular, the staggered exterior of the building also creates a series of sheltered, outdoor spaces, including four sunken patios for outdoor events.

Here, the slender columns that support the upper floors are arranged in groups of four and are intended to give the feeling of walking through a bamboo forest.

The atrium features an installation by Paul Cocksedge

Inside, Tainan Public Library contains different sections dedicated to multimedia, children, teenagers, adults and the city's heritage.

These stand alongside exhibition spaces, a theatre, offices and maker spaces, as well as a study room that is open twenty-four hours a day.

A sculptural red staircase joins is a centrepiece

Entering the building, visitors are greeted by a large atrium that is overlooked by each floor.

Overhead is an installation by UK designer Paul Cocksedge that is composed of suspended sheets of paper, symbolising "freedom of thought and the pleasure of reading".

The atrium and surrounding ground floor spaces are dominated by a wooden material palette, designed to feel warm and welcoming.

On one side, revealed through openings in a slatted wall, is a contrasting sculptural staircase that is painted bright red. This is a centrepiece within the building, visible from each level.

The library incorporates study spaces

The upper levels of the Tainan Public Library have bolder finishes, including bright yellow floors with contrasting black furnishings and circular pendant lights.

The first space visitors pass through is the multimedia library, which is filled with seating and cosy alcoves to watch the film collections. Above are the general and heritage book collections, with links to the roof gardens the complete the building and provide uninterrupted views over the city.

Yellow floors are contrasted with black furnishings

Mecanoo was founded in the Netherlands in 1984 by Dutch architect Francine Houben. Its collaboration with MAYU Architects on the Tainan Public Library follows its recent completion of a giant red cultural centre in Shenzhen that comprises an art gallery, science museum, youth centre and bookshop.

Mecanoo also designed a city library in Birmingham, England, which also has a distinctive stepped form and an ornate facade clad with metallic rings that nod to the city's jewellery quarter.

Elsewhere, the studio is currently developing a proposal for a copper-coloured tower alongside Frankfurt station as well as a sinuous maritime museum for Rotterdam harbour.

Photography is by Ethan Lee.

Project credits:

Project team: Mecanoo and MAYU Client: Cultural Affairs Bureau, Tainan City Government, Taiwan Construction: Envision Engineering Consultants Installation advisor: Frontier Tech Institute of Engineering Design & Consultant Wayfinding: Path & Landforms Contractor: Fu Tsu Construction, Shing Tai Hydro-Power Engineering Design principals: Francine Houben, Malone Chang and Yu-lin Chen Mecanoo design team: Rodrigo Louro, Friso van der Steen, Rodrigo Bandini, Johan Hanegraaf, Rachel Lin, Yuli Huang, Yuanyuan Chen, Natalia Leszcynska, George Orfanopoulos, Antonio Sanna, Wanjen Lin, Yunying Chiu, Tsailing Shih, Eliano Felicio and Nienke Andersson MAYU design team: Ting-yi Lo, Yun-shan Huang, Che-sheng Wang, Ting-yi Lo, Che-sheng Wang, Chia-ru Lin, Beatrice Cordella, Meng-yue Ruan, Qi-ping Yang, Li-chi Yeh, Ya-zhi Guo, Che-kang liu, Yun-shan Huang, Chia-ru Lin, Ting-yi Lo, Ya-yun Wang, Wei-chieh Pan, Yun Chen, Ting-yi Li, Cheng-wei Li, Chih-hung Wang, Yung-hsien Fang, Jui-pao Chan, Tien-hsi Hsu, Ya-tieh Yu, Guan-wun Chen and Yu-lun Liang

The post Mecanoo cloaks palatial Tainan Public Library with decorative aluminium cladding appeared first on Dezeen.

Gogoro2 UP2U from Bito on Vimeo.

Client: Gogoro Director: 劉耕名Keng-Ming Liu Associate Art Director: 劉熙真Hsi-Jen Liu Producer : 陳丞楦Katie Chen Copywriter: 黃心怡Vicki Huang Account manager: 彭乃芸Naiyun Peng Design: 劉熙真Hsi-Jen Liu /高慶和Ching-Ho Kao /莊仲凱Kyle Jhuang /李宜軒Kelly Li /吳箏Chen Wu /陳品蓁Abby Chen 2D Animation: 莊仲凱Kyle Jhuang 3D Animation: 劉熙真Hsi-Jen Liu /高慶和 Ching-Ho Kao Compositing: 劉熙真Hsi-Jen Liu /高慶和Ching-Ho Kao /曾筱涵Hsiao-Han Tseng Color Grading: 曾筱涵Hsiao-Han Tseng Editing: 劉耕名Keng-Ming Liu /劉熙真Hsi-Jen Liu /莊仲凱Kyle Jhuang Sound Design & Mixing: 傳翼錄音室 [動態拍攝PART] Production House製作公司 SIKA FILMS CO. LTD (TAIWAN) 梅花鹿影業股份有限公司 Producer: 尤勝弘SHENG HONG YU Director: 曾崴榆WEI YU TSENG Director Assistant: 朱旻修MIN HSIU CHU Production Assistants: 邱昱凱CASPER CHIU/ 王鈴鈞LING CHUN WANG/ 鄭聿廷JOHNNY CHENG Director of Photography: 林士豐SHIH FENG LIN First Camera Assistant: 王士偉SHIH WEI WANG Camera Assistants: 劉力維LI WEI LIU/ 彥廷/ 小O/ 阿司 Gaffer: 賴楊文WEN YANG LAI Lighting Assistants: 張志民CHIH MIN CHANG/ 李家弦CHIA HSIEN LI/ 洪名洋MING YANG HUNG/ 謝憲欽HSIEN CHIN HSIEN Production Art Director: 周志憲CHIN HSIEN CHOU Art Designers:陳乃菁NAI CHING CHEN/ 許曦尹HSI YIN HSU Art Dep. Assistant: 蔡孟憲MENG HSIEH TSAI Key Grip: 林龍輝BRYAN LIN Grip: 程鎮岳CHEN YUEH CHENG Crane Operator(異能影業器材): 李少川SHAO CHUAN LI Special Equipment: 力榮影視器材

“All the world knows beauty but if that becomes beautiful this becomes ugly all the world knows good but if that becomes good this becomes bad have and have not create each other hard and easy produce each other long and short shape each other high and low complete each other note and noise accompany each other first and last follow each other sages therefore perform effortless deeds and teach wordless lessons they don’t look after all the things that arise or depend on them as they develop or claim them when they reach perfection and because they don’t claim them they are never without them”

-Lao-tzu- (Taoteching, verse 2, translation by Red Pine)

LU HSI-SHENG says, “What we call beautiful or ugly depends on our feelings. Nothing is necessarily beautiful or ugly until feelings make it so. But while feelings differ, they all come from our nature, and we all have the same nature. Hence, sages transform their feelings and return to their nature and thus become one again.”

WU CH’ENG says, “The existence of things, the difficulty of affairs, the size of forms, the magnitude of power, the pitch and clarity of sound, the sequence of position, all involve contrasting pairs. When one is present, both are present. When one is absent, both are absent.”

LU HUI-CH’ING says, “These six pairs all depend on time and occasion. None of them is eternal. Sages, however, act according to the Immortal Tao. Hence, they act without effort. And because they teach according to the Immortal Name, they teach without words. Beautiful and ugly, good and bad don’t enter their minds.”

WANG WU-CHIU says, “Sages are not interested in deeds or words. They simply follow the natural pattern of things. Things rise, develop, and reach perfection. This is their order.”

WANG AN-SHIH says, “Sages create but do not possess what they create. They act but do not depend on what they do. They succeed but do not claim success. These all result from selflessness. Because sages are selfless, they do not lose themselves. Because they do not lose themselves, they do not lose others.

SU CH’E says, “Losing something is the result of possessing something. How can people lose what they don’t possess?”

LI HSI-CHAI says, “Lao-tzu’s 5,000 word text clarifies what is mysterious as well as what is obvious. It can be used to attain the Tao, to order a country, or to cultivate the body.”

HO-SHANG KUNG titles this verse: “Cultivating the Body.”

SUNG CH’ANG-HSING says, “Those who practice the Way put an end to distinctions, get rid of name and form, and make of themselves a home for the Way and Virtue.”

                                                         –

Yesterday, we walked through the door, beginning the journey through the Taoteching, again. In that first verse Lao-tzu told us that the Immortal Way isn’t something that changes. It doesn’t become. And, names of things that change, can’t be the Immortal name. This is very important for us to understand. I said, yesterday, the Immortal Way isn’t about what will become, but of what is and what is not.

In today’s verse, Lao-tzu explains this “what is and what is not,” further. And this, also, is very important for us to understand. We act as if our universe is only made up of what is. But that is a delusion, if we think it. The Immortal Way, or Eternal Reality, is made up of both what is and what is not. You simply can’t have one without the other. It is yin and yang. As soon as “that” becomes beautiful to you, “this” becomes ugly. If “that” becomes good to you, “this” becomes bad.

Try as you might to imagine it otherwise, there is no such thing as beautiful without ugly, or good without bad. Have and have not create each other. Hard and easy produce each other. Long and short shape each other. High and low complete each other. Note and noise accompany each other. First and last follow each other. You can’t have the one without the other.

But, it goes deeper still. We need to talk about the importance of Lao-tzu’s “that” and “this” in today’s verse. What is that? And, what is this? Why does “that” become beautiful and good at the expense of “this” becoming ugly and bad?

It should be easy to understand that “that” is something external to you. It is over there. You don’t think you have it. But you want it. Why has “that” become beautiful and good? Because you have turned your eyes to it and desire it. Meanwhile, “this” is internal. It is what you already have, what you should be satisfied with,

Ah, but the moment you look outside yourself and set your eyes on “that,” “this” becomes ugly and bad to you. It is all subjective. Don’t worry. If “that” ever becomes “this,” and “this,” becomes “that,” you will only find yourself spinning around in circles with changing desires. And, if you keep on looking outside yourself, it is no telling how many times what is beautiful and good, and ugly and bad, will change.

And that isn’t the Immortal Way, the Eternal Reality. We already covered that. What changes can’t be the Eternal Reality. But, it certainly seems to be your eternal reality. Doesn’t it? However, it doesn’t have to be this way. You can break that cycle. You can “wake up.”

Notice how sages do it. They don’t look after all the things that arise. Nor do they depend on them as they develop. And, when they reach completion, sages never claim them as their own. Now watch it. Because they don’t claim them, they are never without them.

Instead of focusing on what is outside of themselves, sages cultivate what is inside of themselves. And, being content with “this,” they are never without “that.”

                                                         –

Red Pine introduces the following with today’s verse:

LU HSI-SHENG (FL. 890). High official and scholar known for his wide learning. His commentary reflects the view that Lao-tzu and Confucius were the spiritual heirs of Fu Hsi (ca. 3500 B.C.), with Lao-tzu emphasizing the yin and Confucius the yang aspects of the Way of Heaven. Tao-te-chen-ching-chuan.

FU HSI (CA. 3500 B.C.). Sage ruler of ancient times and the reputed inventor of the system of hexagrams on which the Yiching is based.

WU CH’ENG (1249-1333). One of the great prose writers of the Yuan dynasty, surpassed only by his student Yu Chi (1272-1348). His commentary shows exceptional originality and provides unique background information. It is also noted for its division of the text into sixty-eight verses. Tao-te-chen-ching-chu.

LU HUI-CH’ING (1031-1111). Gifted writer selected by Wang An-shih to help draft his reform proposals. His commentary, presented to the emperor in 1078, is quoted at length by Chiao Hung. Tao-te-chen-ching-chuan.

WANG WU-CHIU (FL. 1056). Scholar-official. He gave up a promising official career in order to devote himself to studying and teaching. Lao-tzu-yi.

WANG AN-SHIH (1021-1086). One of China’s most famous prime ministers. His attempt to intorduce sweeping reforms directed against merchants and landowners galvanized Chines intellectuals into a debate that continues to this day. He was also one of China’s great poets and prose writers. His commentary has been reedited from scattered sources by Yen Ling-feng. Lao-tzu-chu.

SUNG CH’ANG-HSING (FL. 1700). Taoist master and seventh patriarch of the Dragon Gate sect of the Golden Lotus lineage. His commentary on the Taoteching was a favorite of Emperor K’ang-hsi (r. 1662-1722). Tao-te-ching chiang-yi.

Easy Shen - Woodfish Music Video from hansworks on Vimeo.

沈簡單-《緣木 》

Production : DEPTH DESIGN Art Director / Producer : 陳青琳KIM CHEN Story & Storyboard : 陳青琳KIM CHEN Motion Board: 大俠梅花鹿Older Jason Modeler : Hank Liu 3D Artist : Hank Liu / 劉熙真Hsi-Jen Liu Digital compositor: Hank Liu / 劉熙真Hsi-Jen Liu/陳青琳KIM CHEN Character animator : 朱俊昇Chun Sheng Ju Character animation consultant : Anne An speacial thank : Older Jason/ Smoky Tu Singer : EASY SHEN Clint : 相知音樂

Gogoro2 UP2U from Bito on Vimeo.

Client: Gogoro Director: 劉耕名Keng-Ming Liu Associate Art Director: 劉熙真Hsi-Jen Liu Producer : 陳丞楦Katie Chen Copywriter: 黃心怡Vicki Huang Account manager: 彭乃芸Naiyun Peng Design: 劉熙真Hsi-Jen Liu /高慶和Ching-Ho Kao /莊仲凱Kyle Jhuang /李宜軒Kelly Li /吳箏Chen Wu /陳品蓁Abby Chen 2D Animation: 莊仲凱Kyle Jhuang 3D Animation: 劉熙真Hsi-Jen Liu /高慶和 Ching-Ho Kao Compositing: 劉熙真Hsi-Jen Liu /高慶和Ching-Ho Kao /曾筱涵Hsiao-Han Tseng Color Grading: 曾筱涵Hsiao-Han Tseng Editing: 劉耕名Keng-Ming Liu /劉熙真Hsi-Jen Liu /莊仲凱Kyle Jhuang Sound Design & Mixing: 傳翼錄音室 [動態拍攝PART] Production House製作公司 SIKA FILMS CO. LTD (TAIWAN) 梅花鹿影業股份有限公司 Producer: 尤勝弘SHENG HONG YU Executive Director: 曾崴榆WEI YU TSENG Director Assistant: 朱旻修MIN HSIU CHU Production Assistants: 邱昱凱CASPER CHIU/ 王鈴鈞LING CHUN WANG/ 鄭聿廷JOHNNY CHENG Director of Photography: 林士豐SHIH FENG LIN First Camera Assistant: 王士偉SHIH WEI WANG Camera Assistants: 劉力維LI WEI LIU/ 彥廷/ 小O/ 阿司 Gaffer: 賴楊文WEN YANG LAI Lighting Assistants: 張志民CHIH MIN CHANG/ 李家弦CHIA HSIEN LI/ 洪名洋MING YANG HUNG/ 謝憲欽HSIEN CHIN HSIEN Production Art Director: 周志憲CHIN HSIEN CHOU Art Designers:陳乃菁NAI CHING CHEN/ 許曦尹HSI YIN HSU Art Dep. Assistant: 蔡孟憲MENG HSIEH TSAI Key Grip: 林龍輝BRYAN LIN Grip: 程鎮岳CHEN YUEH CHENG Crane Operator(異能影業器材): 李少川SHAO CHUAN LI Special Equipment: 力榮影視器材

2020 Uni-President Xiong Shi Players By Nationality

American: 3 (Ryan Feierabend, Donn Roach & Josh Roenicke)

Taiwanese: 53 (Chun-Kai Chang, Chie-Hsien Chen, Chung-Ting Chen, Chung-Yu Chen, Yu-Hsuan Chen, Yun-Wen Chen, Yung-Chi Chen, Chun-Jen Cheng, Kai-Wen Cheng, Chen-Yen Chiang, Cheng-Fang Chiang, Liang-Wei Chiang, Hao-Chun Chiu, Tzu-Kai Chiu, Yuen-Chin Chu, Chun-Kai Chuang, Chang-Yung Fang, Yu-Kang Fu, Hsi-Chi Hong, Chun-Yen Huang, En-Tzu Huang, Cheng-Pin Hsu, Wei-Chung Hsueh, Kuo-Ching Kao, Chun-Wei Kuo, Fu-Lin Kuo, Heng-Hsiao Kuo, Po-Kai Lai, Wen-Yang Liao, Chi-Wei Lin, Hang Lin, Sheng-Chieh Lin, Tzu-Wei Lin, Wei-Chih Lin, Yu-Le Lin, Fu-Hao Liu, Chin-Lung Lo, Kuo-Lung Lo, Chia-Yi Mai, Yen-Ting Pan, Wei-Lun Pan, Wu-Hsiung Pan, Tzu-Chien Shih, Chih-Chieh Su, Chao-Ting Tang, Chih-Wei Teng, Yi-Hsuan Tsai, Chieh-Jui Wu, Kuo-Hao Wu, Ching-Ming Wang, Yu-Pu Wang, Chia-Wei Yang & Chien-Fu Yang)

一同乘載回憶的列車，繼續懷抱夢想前行 人生是輛不停前進的單程列車，從生命之初開往落日之盡，沿途景色變換各站停靠，那些來來去去的人們，中途時而上車時而下車，月台上的歡欣與悲喜，車廂裡的駐足與遙望，可能擦肩而過，可能短暫停留，緣份讓我們在這段旅程上相識相知相惜相伴。

S.H.E的夢想列車將一路行駛，生命不斷延伸，你與我更多回憶將不停誕生！

S.H.E 十七週年紀念單曲 吳青峰寫詞譜曲量身打造 十七歲的青春詩篇 你我再翻完美一頁

數位收聽『十七』- https://SHE.lnk.to/17

十七 詞/曲：吳青峰

在無窮無盡之間 充滿吶喊的子夜 十七歲的我們 在哪邊 在未來攤開之前 期待又怕受傷害 是我 和你和你 說著夢想 說著心願

在有來有往之後 三種特別的語言 上天選了我們 圍成圈 在潮起潮落之間 將我環繞的世界 拾起 許多情節 如此和諧 如此無間

時間的長河 我非你們不可 緣分的比喻 匯流成一首歌 那是我們 從還懵懂的青春 變成 最重要的人

也許經歷過聚散和離分 也許嘗受過懷疑眼神 我們的生命卻不斷延伸 更多的回憶不停誕生

我們的感情 不是什麼新聞 你身邊也會 有珍惜你的人 那是我們 最想祝福的你們 懂得 活著的快樂

一起走過了 彼此一半的人生 陪伴只會累積得更深

就一起走著走到了永恆 還請你們陪我們見證

數位收聽『十七』- https://SHE.lnk.to/17

製作人：王治平 編曲：溫奕哲 配唱製作人：馬毓芬 和聲編寫：馬毓芬 和聲：S.H.E

弦樂編寫 Music & Strings Arrangement：溫奕哲 Phil Wen 吉他Guitar：鍾丞洋 貝斯Bass：黃群翰 鼓Drums：楊凱淋 口風琴Melodica：溫奕哲 Phil Wen 弦樂監製String supervisor：溫奕哲 Phil Wen 小提琴 Violin：蔡曜宇 Shuon Tsai、朱奕寧 Yi-Ning Ju 中提琴 Viola：甘威鵬 Weapon Kan 大提琴 Cello：劉涵 Liu Hang 弦樂錄音師 Recording Engineer：溫奕哲 Phil Wen 弦樂錄音室 Recording Room：皮老闆錄音室 Master P’s Studio Bass錄音室：Lights Up Studio 鼓錄音室：楊記錄音室 Yang Studio

製作助理：張育碩 錄音師：馬丁 錄音室：華研猛蛋錄音室 混音師：Craig Burbidge @After Shock studio, LA

【工作人員Credit】

Director：Muh Chen 陳奕仁 Production House：Grass Jelly Studio 仙草影像 Client：HIM 華研國際音樂 Starring：Selina 任家萱 / Hebe 田馥甄 / Ella 陳嘉樺 Co-Starring：任明廷Ming Ting Jen / 鄭瑞蘭Cheng Jui Lan /大目DaMove @DANCE SOUL

Makeup：瑤瑤 Ara Wu @Prettycool 美少女工作室 /曾宥寧Queena Tseng /阿鳳 Evone Chang Hairstyle：Ethan Yao @ hc group / Johnny Ho @ hc group / Cora Ho @ hc group / Ban Chen @ hc group Stylist：曾瓊鶯Olive Tseng Stylist Assistant：王瑾瑩Wang Chin Yin Co-ordinator Hairstyle：Nelson @ZOOM Hairstyling /張伊晴Eleanor Chang Co-ordinator Makeup：張伊晴Eleanor Chang Special Thanks：MS IDEAS

Production DEPT.： Production House：仙草影像Grass Jelly Studio Director：陳奕仁Muh Chen Assistant Director：林曉娸Xiao Chi Lin Director’s Assistant：陳湘喬Rita Chen / 洪凡柔Roddy Hung

Producer：王漢聲Hanson Wang @ Wang’s Studio 聲意旺影音工作室 Line Producer：何逢霖Hill Ho Producer’s Assistant：王璽皓Hsi Hao Wang /湯雅庭Mogan Tang

D.P.：范勝翔Sheng Siang Fan Movi Technician：彭茯星Fu Hsing Peng 1st Asst. Camera：陳柏言Po Yen Chen Camera Assistant : 鐘士偉Shih Wei Chung / 賴建榮Chien Jung Lai / 蔡亞玲Ya Ling Tsai

Gaffer：洪國城Guo Cheng Hong Best Boy Electrician：李模帥Mo Shuai Li Lighting Technician：王雋元Jiuan Yuan Wang / 李培瑋Pei Wei Li / 張仲翰Chung Han Chang / 溫彥博Yen Po Wen

Production Design：郭志達美術工作室ADALA STUDIO Production Designer：郭志達Chih Da Kuo Set Designer：王則岳Che Yueh Wang Graphic Design：鄭以琦Chris Cheng Set Dresser：王鈺婷Chanel Wang / 張雅涵Ya Han Chang Art Assistant：楊晴亞Ching Ya Yang / 郭秋瑾Chiu Chin Kuo / 黃嘉誼Chia Yi Huang Internship：胡淑媚Shu Mei Hu / 鍾政宏Cheng Hung Chung

Scenic：法蘭克質感創作有限公司Frank Scenic Art Company Scenic Art Consultant：陳新發Frank Chen Lead Scenic Painter：林佩蓁Pei Chen Lin / 謝忠恕Zhong Shu Xie / 陳瑞龍Jui Lung Chen Sceinc Painters：林相如Hsiang Ju Lin / 郭佳妤Jia Yu Kuo / 許毓娟Yu Chuan Hsu / 紀品竹Pin Chu Chi /吳妍樺Yen Hua Wu / 蔡淳馥Chun Fu Cai

Wrought Iron Art：弘展工作室Hung Jan Studio 吳京虔Jing Qian Wu / 潘嘉芳Chia Fang Pan / 辜和益Ho Yi Ku

SFX：路飛特效創意行銷有限公司SFX Special Effect Luffy Tech Corporation

Video Engineering：民偉視訊工程有限公司MEWAY VISION ENGINEERING CO Ltd. 許尚淵Shang Yuan Hsu / 徐立緯Li Wei Hsu / 黃宏明Hung Ming Huang / 陳家榮Chia Jung Chen / 呂卓漢Cho Han Lu / 高棋琳Chi Lin Kao / 吳哲賢Che Hsien Wu / 陳智龍Chih Lung Chen / 許宇騰Yu Teng Hsu /鄭家興Chia Hsing Cheng / 巫國基Kuo Chi Wu

Best Boy Grip：緯盛工作室Weisson Studio 許裕成Yu Cheng Shu / 李宗庭Tsung Ting Li / 陳政翰Zheng Han Chen / 陳彥豪Yan Hao Chen / 譚凱富Kai Fu Tan / 邱詠祥Yung Hsiang Chiu / 許峻豪Chun Hao Hsu / 許誌峯Chim Feng Hsu / 林斯偉Sih Wei Lin / 吳明吉Ming Chi Wu / 邱宥翔Yu Hsiang Chiu / 傅昱仁Yu Jen Fu / 劉川琪 Chuan Chi Liu / 藍功民Gong Min Lan / 呂鴻昌Hung Chang Lu

Stylist：陳八比Barbie Chen @米兔皇造型工作室Mii2 Styling Makeup & Hairstyle：陳怡靜Yi Ching Chen / 林芝羽 Chih Yu Lin

Casting：滃滃國際有限公司Wong Win International Co. Ltd

Studio / Lighting：鴻臣片場Hong Chen Film Studio Camera Rental：班生國際有限公司Ban Sheng International Co. Ltd / 和寬攝影器材有限公司He Kuan Equipment Co. Ltd. Camera Support Equipment：懿生移動影業Grip Trix / 力榮影業有限公司LEE RONG FILM & TV EQUIPMENT CO.

Transportation：莊素 Su Chuang / 葉能營Neng Ying Ye @五福將工作室

Sound Effect：奇奕果有限公司Kiwi Audio & Visual Production Inc. Sound Effects Editor：蔣震道Chen Tao Chiang Voice Talent：許伯琴Po Chin Hsu

Design & Animation：仙草影像Grass Jelly Studio VFX Supervisor：陳威廷Weiting Chen Executive Producer：廖梓雯Iris Liao Project Manager：賴奕如Ekijo Lai Financial Manager：陳奕如Lulu Chen

CG & Compositing Lead：苗天雨Greg Miao

Story：李季軒Both Li / 林曉娸Xiao Chi Lin / 陳湘喬Rita Chen / 洪凡柔Roddy Hung

Designer：梁育碩Yu Shuo Leung

3D Animator：黃勗Nigel Huang / 王玨凝Janet Wang / 蘇袖惠Youzi Su / 陳家和Eason Chen

FX Artist：林伯瀚Han Lin

Compositing：黃勗Nigel Huang / 李文婷Wen Ting Li / 林佳儀Gobao Lin

Compositor‘s Assistant：陳家和Eason Chen / 冀擎Ching Chi / 黃于瑄Yu Hsuan Huang / 陳信翰Wilson Chen / 周祐諆Yuki Chou / 陳家榆Jia Yu Chen / 江敬Gene Jiang

Additional Compositor‘s Assistant：邵偉豪Weahao Shao / 張雅雅Ya Ya Chang / 林于心Emory Lin / 呂庭儀Ting Yi Lu / 梁雅雯Wen Liang

Colorist：陳威廷Weiting Chen

Gogoro2 UP2U from Bito on Vimeo.

Client: Gogoro Director: 劉耕名Keng-Ming Liu Associate Art Director: 劉熙真Hsi-Jen Liu Producer : 陳丞楦Katie Chen Copywriter: 黃心怡Vicki Huang Account manager: 彭乃芸Naiyun Peng Design: 劉熙真Hsi-Jen Liu /高慶和Ching-Ho Kao /莊仲凱Kyle Jhuang /李宜軒Kelly Li /吳箏Chen Wu /陳品蓁Abby Chen 2D Animation: 莊仲凱Kyle Jhuang 3D Animation: 劉熙真Hsi-Jen Liu /高慶和 Ching-Ho Kao Compositing: 劉熙真Hsi-Jen Liu /高慶和Ching-Ho Kao /曾筱涵Hsiao-Han Tseng Color Grading: 曾筱涵Hsiao-Han Tseng Editing: 劉耕名Keng-Ming Liu /劉熙真Hsi-Jen Liu /莊仲凱Kyle Jhuang Sound Design & Mixing: 傳翼錄音室 [動態拍攝PART] Production House製作公司 SIKA FILMS CO. LTD (TAIWAN) 梅花鹿影業股份有限公司 Producer: 尤勝弘SHENG HONG YU Director: 曾崴榆WEI YU TSENG Director Assistant: 朱旻修MIN HSIU CHU Production Assistants: 邱昱凱CASPER CHIU/ 王鈴鈞LING CHUN WANG/ 鄭聿廷JOHNNY CHENG Director of Photography: 林士豐SHIH FENG LIN First Camera Assistant: 王士偉SHIH WEI WANG Camera Assistants: 劉力維LI WEI LIU/ 彥廷/ 小O/ 阿司 Gaffer: 賴楊文WEN YANG LAI Lighting Assistants: 張志民CHIH MIN CHANG/ 李家弦CHIA HSIEN LI/ 洪名洋MING YANG HUNG/ 謝憲欽HSIEN CHIN HSIEN Production Art Director: 周志憲CHIN HSIEN CHOU Art Designers:陳乃菁NAI CHING CHEN/ 許曦尹HSI YIN HSU Art Dep. Assistant: 蔡孟憲MENG HSIEH TSAI Key Grip: 林龍輝BRYAN LIN Grip: 程鎮岳CHEN YUEH CHENG Crane Operator(異能影業器材): 李少川SHAO CHUAN LI Special Equipment: 力榮影視器材

Easy Shen - Woodfish from Hsi-Jen Liu on Vimeo.

沈簡單-《緣木 》 Production : DEPTH DESIGN Art Director / Producer : 陳青琳KIM CHEN Story & Storyboard : 陳青琳KIM CHEN Motion Board: 大俠梅花鹿Older Jason Modeler : Hank Liu 3D Artist : Hank Liu / 劉熙真Hsi-Jen Liu Digital compositor: Hank Liu / 劉熙真Hsi-Jen Liu/陳青琳KIM CHEN Character animator : 朱俊昇Chun Sheng Ju Character animation consultant : Anne An speacial thank : Older Jason/Smoky Tu Singer : EASY SHEN Clint : 相知音樂