Does Hou Hsien Use Non-Diegetic Sound In The Assassin

The Assassin, directed by Hou Hsiao-Hsien, follows an assassin named Nie Yinniang in 8th century China. After failing to execute a government official for her master, she is sent to kill the military leader of the province Weibo, named Tian Ji’an. Though her ability is not in question, Yinniang struggles to complete her assignment because Tian Ji’an is her cousin. Hou Hsiao-Hsien, part of the 5th generation of Beijing Film Academy directors, uses unique formalists techniques, especially focusing on mise en scene, to develop the psychology of his characters. Hou Hsiao-Hsien uses non-diegetic sounds and the manipulation of color and focus, to immerse the viewer through Nie Yinniang’s psychological battle. Hou Hsiao-Hsien uses non-diegetic sound almost exclusively in an attempt to create atmosphere and anticipation. Hou wants to make the atmosphere feel realistic but uses non-diegetic sound so that he can choose each specific sounds to precisely build his world. From the opening prologue to the end of the movie, one of the most noticeable aspects of The Assassin is the absence of sound. The absence of sound is used to add to the stealth of Yinniang as she
Hou Hsiao-Hsien’s focus on mise en scene is clear throughout the entire movie. Hou’s cinematography, especially the scene with Lord Tian and his wife speaking in their room, creates unparalleled presence and atmosphere. Due to the detail in the sets and cinematography, the point of the movie feels like it’s more about aesthetic and tone than plot. Many of the other 5th generation directors’ films which are metaphors and social commentaries regarding modern China. At first glance, The Assassin seems to just be a successful attempt at making a beautiful martial arts film but knowing the style of the 5th generation, Hou Hsiao-Hsien may have intended for the film to carry some extra