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<li id="toc-Before_Taiwan_New_Cinema" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Before_Taiwan_New_Cinema"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1</span> <span>Before Taiwan New Cinema</span> </div> </a> <ul id="toc-Before_Taiwan_New_Cinema-sublist" class="vector-toc-list"> <li id="toc-Political_propaganda_(1945–1960)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Political_propaganda_(1945–1960)"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1.1</span> <span>Political propaganda (1945–1960)</span> </div> </a> <ul id="toc-Political_propaganda_(1945–1960)-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Innovative_productions_(1960–1978)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Innovative_productions_(1960–1978)"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1.2</span> <span>Innovative productions (1960–1978)</span> </div> </a> <ul id="toc-Innovative_productions_(1960–1978)-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Cinematic_reform_(1978–1982)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Cinematic_reform_(1978–1982)"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.1.3</span> <span>Cinematic reform (1978–1982)</span> </div> </a> <ul id="toc-Cinematic_reform_(1978–1982)-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Taiwan_New_Cinema_(1982–1987)" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Taiwan_New_Cinema_(1982–1987)"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.2</span> <span>Taiwan New Cinema (1982–1987)</span> </div> </a> <ul id="toc-Taiwan_New_Cinema_(1982–1987)-sublist" class="vector-toc-list"> <li id="toc-Repercussions_(1988–1996)" class="vector-toc-list-item vector-toc-level-3"> <a class="vector-toc-link" href="#Repercussions_(1988–1996)"> <div class="vector-toc-text"> <span class="vector-toc-numb">1.2.1</span> <span>Repercussions (1988–1996)</span> </div> </a> <ul id="toc-Repercussions_(1988–1996)-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> </ul> </li> <li id="toc-Contributions_of_Taiwan_New_Cinema" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Contributions_of_Taiwan_New_Cinema"> <div class="vector-toc-text"> <span class="vector-toc-numb">2</span> <span>Contributions of Taiwan New Cinema</span> </div> </a> <button aria-controls="toc-Contributions_of_Taiwan_New_Cinema-sublist" class="cdx-button cdx-button--weight-quiet cdx-button--icon-only vector-toc-toggle"> <span class="vector-icon mw-ui-icon-wikimedia-expand"></span> <span>Toggle Contributions of Taiwan New Cinema subsection</span> </button> <ul id="toc-Contributions_of_Taiwan_New_Cinema-sublist" class="vector-toc-list"> <li id="toc-The_meaning_of_Taiwan_New_Cinema" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#The_meaning_of_Taiwan_New_Cinema"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.1</span> <span>The meaning of Taiwan New Cinema</span> </div> </a> <ul id="toc-The_meaning_of_Taiwan_New_Cinema-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Style_of_Taiwan_New_Cinema" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Style_of_Taiwan_New_Cinema"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.2</span> <span>Style of Taiwan New Cinema</span> </div> </a> <ul id="toc-Style_of_Taiwan_New_Cinema-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Influence_of_Taiwan_New_Cinema" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Influence_of_Taiwan_New_Cinema"> <div class="vector-toc-text"> <span class="vector-toc-numb">2.3</span> <span>Influence of Taiwan New Cinema</span> </div> </a> <ul id="toc-Influence_of_Taiwan_New_Cinema-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Key_films" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Key_films"> <div class="vector-toc-text"> <span class="vector-toc-numb">3</span> <span>Key films</span> </div> </a> <ul id="toc-Key_films-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-See_also" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#See_also"> <div class="vector-toc-text"> <span class="vector-toc-numb">4</span> <span>See also</span> </div> </a> <ul id="toc-See_also-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> <span class="vector-toc-numb">5</span> 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<div class="mw-indicators"> </div> <div id="siteSub" class="noprint">From Wikipedia, the free encyclopedia</div> </div> <div id="contentSub"><div id="mw-content-subtitle"></div></div> <div id="mw-content-text" class="mw-body-content"><div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">Film movement in Taiwan, 1982 to 1987</div> <p><b>Taiwan New Cinema</b> (also known as <b>New Taiwanese Cinema</b> or the <b>Taiwan New Wave</b>) was a film reform movement initiated by young Taiwanese filmmakers and directors which took place from 1982 to 1987. Taiwan New Cinema films primarily showcase a realistic style with their depictions of subject matter close to the social reality, offering a retrospective look into the lives of the common people. Taiwan New Cinema brought about a new chapter for the <a href="/wiki/Cinema_of_Taiwan" title="Cinema of Taiwan">cinema of Taiwan</a> with its innovative form and unique style.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="History">History</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=1" title="Edit section: History"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="Before_Taiwan_New_Cinema">Before Taiwan New Cinema</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=2" title="Edit section: Before Taiwan New Cinema"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading4"><h4 id="Political_propaganda_(1945–1960)"><span id="Political_propaganda_.281945.E2.80.931960.29"></span>Political propaganda (1945–1960)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=3" title="Edit section: Political propaganda (1945–1960)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>On August 15, 1945, Taiwan was liberated from <a href="/wiki/Taiwan_under_Japanese_rule" title="Taiwan under Japanese rule">Japanese rule</a> after Japan unconditionally surrendered. The Republic of China's Nationalist government took over Taiwan and abolished the <a href="/wiki/Japanization" title="Japanization">Japanization</a> implemented by the Japanese rule, including the Japanization of spoken languages in Taiwan. The Nationalist government started the promotion of Mandarin. In 1949, the <a href="/wiki/Chinese_Civil_War" title="Chinese Civil War">Chinese Civil War</a> between the Nationalist Party (<a href="/wiki/Nationalist_government" title="Nationalist government">Kuomintang</a>) and the <a href="/wiki/Chinese_Communist_Party" title="Chinese Communist Party">Chinese Communist Party</a> (CCP) ended with the CCP taking control of mainland China, while the Nationalist Kuomintang Party <a href="/wiki/Kuomintang%27s_retreat_to_Taiwan" class="mw-redirect" title="Kuomintang's retreat to Taiwan">retreated</a> to Taiwan.<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> </p><p>In the 1950s, to comply with the government's political agenda, the three major state-owned film studios (<a href="/w/index.php?title=Taiwan_Film_Culture_Co.&action=edit&redlink=1" class="new" title="Taiwan Film Culture Co. (page does not exist)">Taiwan Film Culture Co.</a>, the China Motion Picture Studio, and the Agricultural Education Film Studio) underwent structural reform. Subsequently, through the restrictions imposed by censorship and ideological regulation, the government fully managed and controlled the film industry.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> During this period, Taiwanese films largely aligned with the anti-communist and anti-Soviet political ideology and became tools for political propaganda, resulting in mediocre content.<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> Under the special circumstances of the Chinese Civil War and the <a href="/wiki/Cold_War" title="Cold War">Cold War</a> between the United States and the Soviet Union, Taiwanese audiences, amidst a gloomy situation, found resonance in local film culture, leading to the rise of <i>Taiyupian</i> (<a href="/wiki/Taiwanese_cinema" class="mw-redirect" title="Taiwanese cinema">Taiwanese-language cinema</a>).<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Innovative_productions_(1960–1978)"><span id="Innovative_productions_.281960.E2.80.931978.29"></span>Innovative productions (1960–1978)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=4" title="Edit section: Innovative productions (1960–1978)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In the 1960s, the situation across the Taiwan Strait gradually stabilized, and the overall social atmosphere became slightly more relaxed. With the U.S. military presence in Taiwan, Taiwan began to experience stable development. In March 1963, <a href="/wiki/Kong_Hong" title="Kong Hong">Kung Hong</a>, the newly appointed president at the <a href="/wiki/Central_Motion_Picture_Corporation" title="Central Motion Picture Corporation">Central Motion Picture Corporation</a>, proposed a film production style called healthy realism that, while adopting the filmmaking style of realistic films in Europe and the United States, avoided exposing the dark side of society.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> Surprisingly, the approach of concealing the bad while promoting the good and of advocating humanitarianism were well-received in the Taiwanese market.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> This innovation not only elevated the production standards of Taiwanese films but also opened up the overseas Chinese market for films.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p><p>In addition, many films adapted from the novels of Taiwanese writer <a href="/wiki/Chiung_Yao" title="Chiung Yao">Chiung Yao</a> introduced extensively emerging thematic elements of romance and melancholy, and hence expanded the horizons of Taiwanese cinema. During this period, Mandarin-language films flourished, overshadowing and gradually leading to the decline of the <i>Taiyupian</i> market.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> </p><p>In the 1970s, under the leadership of <a href="/wiki/Chiang_Ching-kuo" title="Chiang Ching-kuo">Chiang Ching-kuo</a>, who was serving as the Premier of the <a href="/wiki/Executive_Yuan" title="Executive Yuan">Executive Yuan</a> at the time, Taiwan embarked on the <a href="/wiki/Ten_Major_Construction_Projects" title="Ten Major Construction Projects">Ten Major Construction Projects</a> to accelerate economic development. As a result, Taiwanese society transitioned from an <a href="/wiki/Agrarian_society" title="Agrarian society">agrarian society</a> to an <a href="/wiki/Industrial_society" title="Industrial society">industrial one</a>, and the majority of Taiwanese people became more affluent. Films at the time started responding to societal demands with the production of patriotic films, romance films, <a href="/wiki/Martial_arts_film" title="Martial arts film">martial arts films</a>, <a href="/wiki/Kung_fu_film" title="Kung fu film">kung fu films</a>, and <a href="/wiki/Comedy_film" title="Comedy film">comedy films</a>, all of which became the mainstream media providing entertainment for the public.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup> </p><p>However, these films eventually faced rejection from audiences due to their repetitive nature and adherence to established conventions. The influx of <a href="/wiki/American_film" class="mw-redirect" title="American film">American</a> and <a href="/wiki/Cinema_of_Hong_Kong" title="Cinema of Hong Kong">Hong Kong films</a> into the Taiwanese market further exacerbated the decline of Taiwanese cinema.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Cinematic_reform_(1978–1982)"><span id="Cinematic_reform_.281978.E2.80.931982.29"></span>Cinematic reform (1978–1982)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=5" title="Edit section: Cinematic reform (1978–1982)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In June 1978, <a href="/wiki/Ming_Ji" title="Ming Ji">Ming Ji</a>, the president of Central Motion Picture Corporation, revisited film production trends and guidelines and set goals to "strengthen policy propaganda and promote cooperation with both domestic and overseas filmmakers."<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> In 1980, the <a href="/wiki/Government_Information_Office" title="Government Information Office">Government Information Office</a> of the Executive Yuan put in efforts to enhance the artistic and international dimensions of Taiwanese films. The Central Motion Picture Corporation was tasked with initiating a series of reforms, such as personnel reorganization. <a href="/wiki/Hsiao_Yeh" class="mw-redirect" title="Hsiao Yeh">Hsiao Yeh</a> was appointed as the Deputy Manager of the Production Planning Department and the Head of the Planning Team, and <a href="/wiki/Wu_Nien-jen" title="Wu Nien-jen">Wu Nien-jen</a>, an emerging writer at the time, was hired for screenwriting.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> </p><p>Since then, Taiwanese cinema broke free from its previous creative style, with plots that are more closely related to the realities of society. Establishing new forms of cinematic style and language, it also began to cast non-celebrity or non-professional actors and to adopt a more natural and realistic filmmaking approach.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Taiwan_New_Cinema_(1982–1987)"><span id="Taiwan_New_Cinema_.281982.E2.80.931987.29"></span>Taiwan New Cinema (1982–1987)</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=6" title="Edit section: Taiwan New Cinema (1982–1987)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1982, three new-generation directors—<a href="/wiki/Edward_Yang" title="Edward Yang">Edward Yang</a>, Ko I-chen, and Chang Yi—joined the Central Motion Picture Corporation and proposed a collaborative project of low-budget films.<sup id="cite_ref-28" class="reference"><a href="#cite_note-28"><span class="cite-bracket">[</span>28<span class="cite-bracket">]</span></a></sup> Through the efforts of Ming Ji and Hsiao Yeh, they produced the four-segment <a href="/wiki/Anthology_film" title="Anthology film">anthology film</a>, <i><a href="/wiki/In_Our_Time_(1982_film)" title="In Our Time (1982 film)">In Our Time</a></i>.<sup id="cite_ref-29" class="reference"><a href="#cite_note-29"><span class="cite-bracket">[</span>29<span class="cite-bracket">]</span></a></sup> This film marked the beginning of analyzing real social phenomena and caring about the realities of everyday life as well as the restoration of collective memory.<sup id="cite_ref-30" class="reference"><a href="#cite_note-30"><span class="cite-bracket">[</span>30<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-31" class="reference"><a href="#cite_note-31"><span class="cite-bracket">[</span>31<span class="cite-bracket">]</span></a></sup> For this reason, <i>In Our Time</i> has been widely regarded as the first work of the Taiwan New Cinema movement. All the filmmakers involved in this film became important members of the movement. The naturalistic and literary style of <i>In Our Time</i> symbolized the difference between New Cinema and Old Cinema.<sup id="cite_ref-32" class="reference"><a href="#cite_note-32"><span class="cite-bracket">[</span>32<span class="cite-bracket">]</span></a></sup> </p><p>Subsequently, emerging Taiwanese directors, such as <a href="/wiki/Chen_Kun-hou" title="Chen Kun-hou">Chen Kun-hou</a>, <a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a>, <a href="/wiki/Wan_Jen" title="Wan Jen">Wan Jen</a>, and <a href="/wiki/Wang_Toon_(director)" class="mw-redirect" title="Wang Toon (director)">Wang Toon</a>, began producing realistic works that resonated with the cinematic movement, sparking a trend of realistic filmmaking.<sup id="cite_ref-33" class="reference"><a href="#cite_note-33"><span class="cite-bracket">[</span>33<span class="cite-bracket">]</span></a></sup> At the time, art films that emphasized the seriousness and scholarly significance of cinema had also gradually made their way into Taiwan, even though the ideas that came with these art films might not necessarily coincide with the notion of audience-oriented film promoted by the Film Critics China.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34"><span class="cite-bracket">[</span>34<span class="cite-bracket">]</span></a></sup> </p><p>In 1983, the three-segment anthology film <i><a href="/wiki/The_Sandwich_Man_(1983_film)" title="The Sandwich Man (1983 film)">The Sandwich Man</a></i>, directed by the new-generation directors, sparked a wave of criticism due to an attempt to censor depictions of poverty, known as the "Apple-Paring Incident", that happened prior to the film's release.<sup id="cite_ref-35" class="reference"><a href="#cite_note-35"><span class="cite-bracket">[</span>35<span class="cite-bracket">]</span></a></sup> This event was widely seen as an ideological struggle between the New Cinema and the Old Cinema, as well as between the new-generation directors and the Film Critics China. The former brought the controversy into the public sphere to seek arbitration, while the latter used anonymous letters to make accusations and express doubts. Ultimately, as the film managed to escape censorship and kept its creative concept intact, <i>The Sandwich Man</i> established the theme and direction for the Taiwan New Cinema.<sup id="cite_ref-36" class="reference"><a href="#cite_note-36"><span class="cite-bracket">[</span>36<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-37" class="reference"><a href="#cite_note-37"><span class="cite-bracket">[</span>37<span class="cite-bracket">]</span></a></sup> </p><p>However, due to the immaturity of a few incompetent individuals, some films exhibited excessive self-indulgent sentimentality. As a result, the quality of New Cinema varied, and it gradually lost its appeal at the box office.<sup id="cite_ref-38" class="reference"><a href="#cite_note-38"><span class="cite-bracket">[</span>38<span class="cite-bracket">]</span></a></sup> The New Cinema films focused on <a href="/wiki/Art_Cinema" class="mw-redirect" title="Art Cinema">art cinema</a>, while Hong Kong and <a href="/wiki/Hollywood_film" class="mw-redirect" title="Hollywood film">Hollywood</a> films prioritized commercial productions, leading to a growing divide between the critics and supporters of each side.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39"><span class="cite-bracket">[</span>39<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-40" class="reference"><a href="#cite_note-40"><span class="cite-bracket">[</span>40<span class="cite-bracket">]</span></a></sup> Supporters expressed their unwillingness to stifle the progress of New Cinema, while critics engaged in forceful criticism of the movement. After numerous debates, the new-generation directors became increasingly dissatisfied with the Film Critics China.<sup id="cite_ref-41" class="reference"><a href="#cite_note-41"><span class="cite-bracket">[</span>41<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-42" class="reference"><a href="#cite_note-42"><span class="cite-bracket">[</span>42<span class="cite-bracket">]</span></a></sup> However, despite facing severe criticism and poor box office performance in the Taiwanese market at the time, New Cinema, receiving numerous awards, gained international recognition at international film festivals and in the global art cinema circuit.<sup id="cite_ref-43" class="reference"><a href="#cite_note-43"><span class="cite-bracket">[</span>43<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-44" class="reference"><a href="#cite_note-44"><span class="cite-bracket">[</span>44<span class="cite-bracket">]</span></a></sup> </p><p>On November 6, 1986, Edward Yang delivered a speech entitled the "Taiwan Film Manifesto of the 76th Year of the Republic of China" at his 40th birthday party in his home in Taipei. In the speech, also known as "Another Cinema Manifesto," he strongly questioned the film policies as well as the mass media and film criticism system of that time. Yang's provocative statement was seen as proclaiming the death of the New Cinema movement.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45"><span class="cite-bracket">[</span>45<span class="cite-bracket">]</span></a></sup> On January 24, 1987, the manifesto was published in the Literary Supplement of the <i>China Times</i>, as well as in <i>Wenxing Monthly</i> and the Hong Kong magazine <i>Film Biweekly</i>. Generally speaking, the "Taiwan Film Manifesto of the 76th Year of the Republic of China," drafted by fifty New Cinema filmmakers and cultural workers, can be seen as the end of the New Cinema movement and the beginning of a pursuit for "Another Cinema" in the subsequent years.<sup id="cite_ref-46" class="reference"><a href="#cite_note-46"><span class="cite-bracket">[</span>46<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-47" class="reference"><a href="#cite_note-47"><span class="cite-bracket">[</span>47<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-48" class="reference"><a href="#cite_note-48"><span class="cite-bracket">[</span>48<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-49" class="reference"><a href="#cite_note-49"><span class="cite-bracket">[</span>49<span class="cite-bracket">]</span></a></sup> </p><p>On July 15, 1987, the Nationalist government announced the lifting of the 38-year-long <a href="/wiki/Martial_law_in_Taiwan" title="Martial law in Taiwan">martial law</a> and allowed its people to visit their families in the mainland, leading to a gradual easing of political relations between the two sides of the Taiwan Strait. Additionally, with the rise of the <a href="/wiki/Tangwai_movement" title="Tangwai movement"><i>Tangwai</i> movement</a>, Taiwanese society gradually freed itself from oppression. In conjunction with the lifting of governmental restrictions on political party formation and press freedom, the overall atmosphere in society was no longer as serious as before.<sup id="cite_ref-50" class="reference"><a href="#cite_note-50"><span class="cite-bracket">[</span>50<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-51" class="reference"><a href="#cite_note-51"><span class="cite-bracket">[</span>51<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Repercussions_(1988–1996)"><span id="Repercussions_.281988.E2.80.931996.29"></span>Repercussions (1988–1996)</h4><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=7" title="Edit section: Repercussions (1988–1996)"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>After the lifting of martial law, despite Taiwanese cinema's continuous struggle in the market, directors and screenwriters who emerged from the New Cinema movement had already begun to delve into previously taboo subjects, revisiting and exploring Taiwan's modern history and personal memories.<sup id="cite_ref-52" class="reference"><a href="#cite_note-52"><span class="cite-bracket">[</span>52<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-53" class="reference"><a href="#cite_note-53"><span class="cite-bracket">[</span>53<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-54" class="reference"><a href="#cite_note-54"><span class="cite-bracket">[</span>54<span class="cite-bracket">]</span></a></sup> </p><p>In 1989, Hou Hsiao-Hsien, a participant in the New Cinema movement, achieved international recognition with his film, <i><a href="/wiki/A_City_of_Sadness" title="A City of Sadness">A City of Sadness</a></i>, winning the prestigious <a href="/wiki/Golden_Lion" title="Golden Lion">Golden Lion Award</a> at the <a href="/wiki/Venice_Film_Festival" title="Venice Film Festival">Venice Film Festival</a>.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55"><span class="cite-bracket">[</span>55<span class="cite-bracket">]</span></a></sup> This marked the first time a Taiwanese film had received recognition at one of the world's top three film festivals.<sup id="cite_ref-56" class="reference"><a href="#cite_note-56"><span class="cite-bracket">[</span>56<span class="cite-bracket">]</span></a></sup> The film depicts the prominent Lin family in the <a href="/wiki/Jiufen" title="Jiufen">Jiufen</a> area as they navigate through the periods of the Japanese rule, the end of <a href="/wiki/World_War_II" title="World War II">World War II</a>, the <a href="/wiki/February_28_incident" title="February 28 incident">228 Incident</a>, and the <a href="/wiki/White_Terror_(Taiwan)" title="White Terror (Taiwan)">White Terror</a>, providing a nuanced reflection of Taiwan's modern history and garnering much praise.<sup id="cite_ref-57" class="reference"><a href="#cite_note-57"><span class="cite-bracket">[</span>57<span class="cite-bracket">]</span></a></sup> From then on, Taiwanese cinema achieved full artistic freedom in its choice of subjects and officially entered an era of diversity, free from ideological constraints.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58"><span class="cite-bracket">[</span>58<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-59" class="reference"><a href="#cite_note-59"><span class="cite-bracket">[</span>59<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading2"><h2 id="Contributions_of_Taiwan_New_Cinema">Contributions of Taiwan New Cinema</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=8" title="Edit section: Contributions of Taiwan New Cinema"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <div class="mw-heading mw-heading3"><h3 id="The_meaning_of_Taiwan_New_Cinema">The meaning of Taiwan New Cinema</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=9" title="Edit section: The meaning of Taiwan New Cinema"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <p>In 1998, the first <a href="/wiki/Taipei_Film_Festival" title="Taipei Film Festival">Taipei Film Festival</a> was officially organized by the Taipei Film Festival Executive Committee. Under the auspices of the organizing committee, the book <i>Revisiting the Past: Tracing the Origins of Taiwanese Cinema</i> (<a href="/wiki/Chen_Kuo-fu" title="Chen Kuo-fu">Chen Kuo-fu</a>, 1998) was published. The book positioned the provenience of Taiwanese cinema with the film, <i>The Sandwich Man</i>, which marked the beginning of the Taiwan New Cinema movement. It argued that, prior to <i>The Sandwich Man</i>, no film had ever been referred to as Taiwanese cinema.<sup id="cite_ref-60" class="reference"><a href="#cite_note-60"><span class="cite-bracket">[</span>60<span class="cite-bracket">]</span></a></sup> The films before the Taiwan New Cinema movement were often understood as "an escapism from facing reality," embodying "the inner conflicts of people during the tense political atmosphere and social transition period across the Taiwan Strait." At that time, domestic films were often labeled with the stigma of escapism.<sup id="cite_ref-61" class="reference"><a href="#cite_note-61"><span class="cite-bracket">[</span>61<span class="cite-bracket">]</span></a></sup> </p><p>The entire book focused on the retrospective of <i>The Sandwich Man</i>, considering it as the starting point of the Taiwan New Cinema and even of Taiwanese cinema as a whole. It adopted a historical perspective centering on the New Cinema movement in its historiography of the film history of Taiwan.<sup id="cite_ref-62" class="reference"><a href="#cite_note-62"><span class="cite-bracket">[</span>62<span class="cite-bracket">]</span></a></sup> It extensively discussed and strongly criticized the Film Critics China that caused the Apple-Paring Incident at that time.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63"><span class="cite-bracket">[</span>63<span class="cite-bracket">]</span></a></sup> Additionally, New Cinema director Wan Jen believed that the incident of his receiving anonymous blackmail was "a complete confrontation between the old and new forces".<sup id="cite_ref-64" class="reference"><a href="#cite_note-64"><span class="cite-bracket">[</span>64<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="Style_of_Taiwan_New_Cinema">Style of Taiwan New Cinema</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=10" title="Edit section: Style of Taiwan New Cinema"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Close examination of the lives of Taiwanese people: It conveys introspection towards the living environment by providing memories distinct from the one-Chinese narrative, extensively using local Taiwanese literary writings, and consolidating a collective identity shared by the Taiwanese people.<sup id="cite_ref-65" class="reference"><a href="#cite_note-65"><span class="cite-bracket">[</span>65<span class="cite-bracket">]</span></a></sup></li> <li>Analysis of real social phenomena: It becomes the voice for Taiwan's historical development by focusing on daily life, placing greater emphasis on personal experiences and memories, abandoning the previous approach of highlighting the good and concealing the bad, and analytically dissecting the pains experienced by people in each era.<sup id="cite_ref-66" class="reference"><a href="#cite_note-66"><span class="cite-bracket">[</span>66<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-67" class="reference"><a href="#cite_note-67"><span class="cite-bracket">[</span>67<span class="cite-bracket">]</span></a></sup></li> <li>Employment of non-celebrity and non-professional actors: Its attention to Taiwan's local culture expresses a breakthrough by departing from the <a href="/wiki/Star_system_(filmmaking)" title="Star system (filmmaking)">star system</a> and extensively employing non-celebrity or non-professional actors in films to create characters that are closer to ordinary people and their experience.<sup id="cite_ref-68" class="reference"><a href="#cite_note-68"><span class="cite-bracket">[</span>68<span class="cite-bracket">]</span></a></sup></li> <li>Establishment of a visual aesthetic style: It establishes key cinematic features incorporating both realist and <a href="/wiki/Modernist_film" title="Modernist film">modernist</a> styles by breaking away from the outdated industrial filmmaking and narrative models, and creating a visual style with deep-focus cinematography and long-take aesthetics that is accompanied by concise storytelling methods.<sup id="cite_ref-69" class="reference"><a href="#cite_note-69"><span class="cite-bracket">[</span>69<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-70" class="reference"><a href="#cite_note-70"><span class="cite-bracket">[</span>70<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-71" class="reference"><a href="#cite_note-71"><span class="cite-bracket">[</span>71<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading3"><h3 id="Influence_of_Taiwan_New_Cinema">Influence of Taiwan New Cinema</h3><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=11" title="Edit section: Influence of Taiwan New Cinema"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li>Elevating the quality of Taiwanese films: It aligns Taiwanese cinema with world cinema and brings Taiwanese cinema into the top-tier international film festivals by indirectly excluding low-quality works with its emphasis on the concept of film as art.<sup id="cite_ref-72" class="reference"><a href="#cite_note-72"><span class="cite-bracket">[</span>72<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-73" class="reference"><a href="#cite_note-73"><span class="cite-bracket">[</span>73<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-74" class="reference"><a href="#cite_note-74"><span class="cite-bracket">[</span>74<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-75" class="reference"><a href="#cite_note-75"><span class="cite-bracket">[</span>75<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-76" class="reference"><a href="#cite_note-76"><span class="cite-bracket">[</span>76<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-77" class="reference"><a href="#cite_note-77"><span class="cite-bracket">[</span>77<span class="cite-bracket">]</span></a></sup></li> <li>Breaking through the restrictions of subject matter: By extending the thematic scope to previously taboo topics, exploring controversial events and figures in Taiwan, and examining the changes in the social structure, Taiwan New Cinema achieves creative freedom beyond ideological constraints.<sup id="cite_ref-78" class="reference"><a href="#cite_note-78"><span class="cite-bracket">[</span>78<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-79" class="reference"><a href="#cite_note-79"><span class="cite-bracket">[</span>79<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-80" class="reference"><a href="#cite_note-80"><span class="cite-bracket">[</span>80<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-81" class="reference"><a href="#cite_note-81"><span class="cite-bracket">[</span>81<span class="cite-bracket">]</span></a></sup></li></ul> <div class="mw-heading mw-heading2"><h2 id="Key_films">Key films</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=12" title="Edit section: Key films"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <table class="wikitable"> <tbody><tr> <th colspan="4">Taiwan New Cinema </th></tr> <tr> <th>Year </th> <th>Film Title </th> <th>Director </th> <th>Note </th></tr> <tr> <th rowspan="2">1982 </th> <td><i><a href="/wiki/In_Our_Time_(1982_film)" title="In Our Time (1982 film)">In Our Time</a></i> </td> <td><a href="/wiki/Edward_Yang" title="Edward Yang">Edward Yang</a>, Ko I-chen, Tao Te-chen, and Chang Yi </td> <td> </td></tr> <tr> <td><i>Green Green Grass of Home</i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td> </td></tr> <tr> <th rowspan="7">1983 </th> <td><i>Growing Up</i> </td> <td>Chen Kun-Hou </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Sandwich_Man_(1983_film)" title="The Sandwich Man (1983 film)">The Sandwich Man</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a>, Tseng Chuang-hsiang, and <a href="/wiki/Wan_Jen" title="Wan Jen">Wan Jen</a> </td> <td>Apple-Paring Incident<sup id="cite_ref-82" class="reference"><a href="#cite_note-82"><span class="cite-bracket">[</span>82<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td><i><a href="/wiki/A_Flower_in_the_Raining_Night" title="A Flower in the Raining Night">A Flower in The Raining Night</a></i> </td> <td><a href="/wiki/Wang_Toon_(director)" class="mw-redirect" title="Wang Toon (director)">Wong Toon</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/That_Day,_on_the_Beach" title="That Day, on the Beach">That Day, on the Beach</a></i> </td> <td><a href="/wiki/Edward_Yang" title="Edward Yang">Edward Yang</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Boys_from_Fengkuei" title="The Boys from Fengkuei">The Boys from Fengkuei</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td> </td></tr> <tr> <td><i>Kendo Kids</i> </td> <td><a href="/wiki/Chang_Yi_(director)" title="Chang Yi (director)">Chang Yi</a> </td> <td> </td></tr> <tr> <td><i>Kidnapped</i> </td> <td>Ko I-chen </td> <td> </td></tr> <tr> <th rowspan="7">1984 </th> <td><i>Ah Fei</i> </td> <td><a href="/wiki/Wan_Jen" title="Wan Jen">Wan Jen</a> </td> <td> </td></tr> <tr> <td><i>Second Spring of Mr. Muo</i> </td> <td>You-Ning Lee </td> <td> </td></tr> <tr> <td><i>Jade Love</i> </td> <td><a href="/wiki/Chang_Yi_(director)" title="Chang Yi (director)">Chang Yi</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/A_Summer_at_Grandpa%27s" title="A Summer at Grandpa's">A Summer at Grandpa's</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td> </td></tr> <tr> <td><i>Run Away</i> </td> <td><a href="/wiki/Wang_Toon_(director)" class="mw-redirect" title="Wang Toon (director)">Wang Toon</a> </td> <td> </td></tr> <tr> <td><i>Nature Is Quiet Beautiful</i> </td> <td>Tseng Chuang-hsiang </td> <td> </td></tr> <tr> <td><i>I Love Mary</i> </td> <td>Ko I-chen </td> <td> </td></tr> <tr> <th rowspan="6">1985 </th> <td><i><a href="/wiki/Taipei_Story" title="Taipei Story">Taipei Story</a></i> </td> <td><a href="/wiki/Edward_Yang" title="Edward Yang">Edward Yang</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Time_to_Live_and_the_Time_to_Die" title="The Time to Live and the Time to Die">A Time to Live, A Time to Die</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td> </td></tr> <tr> <td><i>Kuei-Mei, a Woman</i> </td> <td><a href="/wiki/Chang_Yi_(director)" title="Chang Yi (director)">Chang Yi</a> </td> <td> </td></tr> <tr> <td><i>Super Citizen</i> </td> <td><a href="/wiki/Wan_Jen" title="Wan Jen">Wan Jen</a> </td> <td> </td></tr> <tr> <td><i>The Loser, the Hero</i> </td> <td>Peter Mak </td> <td> </td></tr> <tr> <td><i>The Butcher's Wife</i> </td> <td>Tseng Chuang-hsiang </td> <td> </td></tr> <tr> <th rowspan="3">1986 </th> <td><i>Reunion</i> </td> <td>Ko I-chen </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Dust_in_the_Wind_(film)" title="Dust in the Wind (film)">Dust in the Wind</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td>Taiwan Film Manifesto of the 76th Year of the Republic of China<sup id="cite_ref-83" class="reference"><a href="#cite_note-83"><span class="cite-bracket">[</span>83<span class="cite-bracket">]</span></a></sup> </td></tr> <tr> <td><i><a href="/wiki/Terrorizers" title="Terrorizers">Terrorizers</a></i> </td> <td><a href="/wiki/Edward_Yang" title="Edward Yang">Edward Yang</a> </td> <td> </td></tr> <tr> <th rowspan="4">1987 </th> <td><i>Farewell to the Channel</i> </td> <td><a href="/wiki/Wan_Jen" title="Wan Jen">Wan Jen</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Daughter_of_the_Nile" title="Daughter of the Nile">Daughter of the Nile</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Osmanthus_Alley" title="Osmanthus Alley">Osmanthus Alley</a></i> </td> <td>Chen Kun-Hou </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Strawman_(film)" title="Strawman (film)">Strawman</a></i> </td> <td><a href="/wiki/Wang_Toon_(director)" class="mw-redirect" title="Wang Toon (director)">Wang Toon</a> </td> <td> </td></tr> <tr> <th>1988 </th> <td><i>The Last Autumn of Lao Ke</i> </td> <td>You-Ning Lee </td> <td> </td></tr> <tr> <th rowspan="2">1989 </th> <td><i><a href="/wiki/A_City_of_Sadness" title="A City of Sadness">A City of Sadness</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td> </td></tr> <tr> <td><i>Banana Paradise</i> </td> <td><a href="/wiki/Wang_Toon_(director)" class="mw-redirect" title="Wang Toon (director)">Wang Toon</a> </td> <td> </td></tr> <tr> <th>1990 </th> <td><i>School Girl</i> </td> <td><a href="/wiki/Chen_Kuo-fu" title="Chen Kuo-fu">Chen Kuo-fu</a> </td> <td> </td></tr> <tr> <th>1991 </th> <td><i><a href="/wiki/A_Brighter_Summer_Day" title="A Brighter Summer Day">A Brighter Summer Day</a></i> </td> <td><a href="/wiki/Edward_Yang" title="Edward Yang">Edward Yang</a> </td> <td> </td></tr> <tr> <th>1992 </th> <td><i>Hill of No Return</i> </td> <td><a href="/wiki/Wang_Toon_(director)" class="mw-redirect" title="Wang Toon (director)">Wang Toon</a> </td> <td> </td></tr> <tr> <th rowspan="2">1993 </th> <td><i><a href="/wiki/The_Puppetmaster_(film)" title="The Puppetmaster (film)">The Puppetmaster</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td> </td></tr> <tr> <td><i>Treasure Island</i> </td> <td><a href="/wiki/Chen_Kuo-fu" title="Chen Kuo-fu">Chen Kuo-fu</a> </td> <td> </td></tr> <tr> <th rowspan="2">1994 </th> <td><i><a href="/wiki/A_Confucian_Confusion" title="A Confucian Confusion">A Confucian Confusion</a></i> </td> <td><a href="/wiki/Edward_Yang" title="Edward Yang">Edward Yang</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/A_Borrowed_Life" title="A Borrowed Life">A Borrowed Life</a></i> </td> <td><a href="/wiki/Wu_Nien-jen" title="Wu Nien-jen">Wu Nien-jen</a> </td> <td> </td></tr> <tr> <th rowspan="3">1995 </th> <td><i>The Peony Pavilion</i> </td> <td><a href="/wiki/Chen_Kuo-fu" title="Chen Kuo-fu">Chen Kuo-fu</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Good_Men,_Good_Women" title="Good Men, Good Women">Good Men, Good Women</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Super_Citizen_Ko" title="Super Citizen Ko">Super Citizen Ko</a></i> </td> <td><a href="/wiki/Wan_Jen" title="Wan Jen">Wan Jen</a> </td> <td> </td></tr> <tr> <th rowspan="3">1996 </th> <td><i>Mahjong</i> </td> <td><a href="/wiki/Edward_Yang" title="Edward Yang">Edward Yang</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/Goodbye_South,_Goodbye" title="Goodbye South, Goodbye">Goodbye South, Goodbye</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td> </td></tr> <tr> <td><i>Buddha Bless America</i> </td> <td><a href="/wiki/Wu_Nien-jen" title="Wu Nien-jen">Wu Nien-jen</a> </td> <td> </td></tr> <tr> <th>1997 </th> <td><i>Blue Moon</i> </td> <td>Ko I-chen </td> <td> </td></tr> <tr> <th rowspan="3">1998 </th> <td><i><a href="/wiki/Flowers_of_Shanghai" title="Flowers of Shanghai">Flowers of Shanghai</a></i> </td> <td><a href="/wiki/Hou_Hsiao-hsien" title="Hou Hsiao-hsien">Hou Hsiao-Hsien</a> </td> <td> </td></tr> <tr> <td><i><a href="/wiki/The_Personals_(1998_Taiwanese_film)" title="The Personals (1998 Taiwanese film)">The Personals</a></i> </td> <td><a href="/wiki/Chen_Kuo-fu" title="Chen Kuo-fu">Chen Kuo-fu</a> </td> <td> </td></tr> <tr> <td><i>Connection by Fate</i> </td> <td><a href="/wiki/Wan_Jen" title="Wan Jen">Wan Jen</a> </td> <td> </td></tr> <tr> <th>2000 </th> <td><i><a href="/wiki/Yi_Yi" title="Yi Yi">Yi Yi</a></i> </td> <td><a href="/wiki/Edward_Yang" title="Edward Yang">Edward Yang</a> </td> <td> </td></tr> </tbody></table> <div class="mw-heading mw-heading2"><h2 id="See_also">See also</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=13" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <ul><li><a href="/wiki/Cinema_of_Taiwan" title="Cinema of Taiwan">Cinema of Taiwan</a></li> <li><a href="/wiki/Taiwanese_film" class="mw-redirect" title="Taiwanese film"><i>Taiyupian</i> Taiwanese-language Cinema</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="References">References</h2><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=Taiwan_New_Cinema&action=edit&section=14" title="Edit section: References"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text">Lin, Mucai. <i>Taiwan New Cinema Revisited I. Film Appreciation Journal</i>, issue 191, 2022.</span> </li> <li id="cite_note-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-2">^</a></b></span> <span class="reference-text">陳儒修. 「30年前的台灣新電影，意味著什麼？」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.</span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Tweedie, James. <i>The Age of New Waves : Art Cinema and the Staging of Globalization</i>. Oxford University Press, 2013.</span> </li> <li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text">Yeh, Emilie Yueh-yu, et al. <i>32 New Takes on Taiwan Cinema</i>. Edited by Emilie Yueh-yu Yeh et al., University of Michigan Press, 2022, <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.3998%2Fmpub.11602090">10.3998/mpub.11602090</a>.</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Wicks, James. <i>Transnational Representations : The State of Taiwan Film in the 1960s And 70s</i>. 1st ed., Hong Kong University Press, 2014.</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">李道明，【臺灣與電影的兩種第一次接觸】，《看得見的記憶：二十二部電影裡的百年臺灣電影史》，春山出版， 2020。</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Zhen Wanxiang 鄭玩香. 2001. “Zhanhou Taiwan dianying guanli tixi zhi yanjiu, 1950–1970” 戰後臺灣電影管理體系之研究, 1950–1970 (Studies on the postwar Taiwanese motion picture regulatory system, 1950–1970). Master thesis, Guoli Zhongyang Daxue Lishi Yanjiusuo 國立中央大學歷史研究所 (Graduate Institute of History, National Central University). pp. 21-29.</span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">葉龍彥，《圖解台灣電影史》，晨星，2017。</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">小野. 「那時候大家都只想做我們自己的東西」" <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 206-213.</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">陳儒修. 「30年前的台灣新電影，意味著什麼？」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Su, Chih-heng. <i>Once Upon a Time in Hollywood Taiwan</i>. Spring Hill, 2020.</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Wicks, James. <i>Transnational Representations : The State of Taiwan Film in the 1960s And 70s</i>. 1st ed., Hong Kong University Press, 2014.</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">葉龍彥，《圖解台灣電影史》，晨星，2017。</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">楊元鈴，【蔡揚名，《錯誤的第一步》，一九七九】，《看得見的記憶：二十二部電影裡的百年臺灣電影史》，春山出版， 2020。</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">王建業. 「他們很尊重攝影機前細微、有張力的世界」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 232-237.</span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Tweedie, James. <i>The Age of New Waves : Art Cinema and the Staging of Globalization</i>. Oxford University Press, 2013.</span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Su, Chih-heng. <i>Once Upon a Time in Hollywood Taiwan</i>. Spring Hill, 2020.</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">葉龍彥，《圖解台灣電影史》，晨星，2017。</span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">王建業. 「他們很尊重攝影機前細微、有張力的世界」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 232-237.</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">陳儒修. 「30年前的台灣新電影，意味著什麼？」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">王建業. 「他們很尊重攝影機前細微、有張力的世界」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 232-237.</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Lim, Song Hwee. <i>Taiwan Cinema as Soft Power: Authorship, Transnationality, Historiography</i>. Oxford University Press, 2021, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Foso%2F9780197503379.001.0001">10.1093/oso/9780197503379.001.0001</a>.</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">小野. 「那時候大家都只想做我們自己的東西」" <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 206-213.</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">吳念真. 「過去那種革命情感，是我最懷念的」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 246-249.</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text">小野。「我們的八十年代」， <i>Film in Our Time: Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 20.</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">陳儒修. 「30年前的台灣新電影，意味著什麼？」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text">陳逸達，【每個時代都需要重寫自己的記憶】，《看得見的記憶：二十二部電影裡的百年臺灣電影史》，春山出版， 2020。</span> </li> <li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text">Ko, I-chen. 「一開始，只覺得如果能拍一部電影，就是很過癮的事情了」。 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 200-201.</span> </li> <li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text">Lee Daw-ming, "<a rel="nofollow" class="external text" href="http://techart.tnua.edu.tw/~dmlee/article1.html">Gazging back in Retrospect: A Hundred Year of Taiwan Cinema</a>," 2001. pp. 41-51.</span> </li> <li id="cite_note-30"><span class="mw-cite-backlink"><b><a href="#cite_ref-30">^</a></b></span> <span class="reference-text">吳念真. 「過去那種革命情感，是我最懷念的」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 246-249.</span> </li> <li id="cite_note-31"><span class="mw-cite-backlink"><b><a href="#cite_ref-31">^</a></b></span> <span class="reference-text">張, 靚蓓 (2011). <i>凝望.時代 : 穿越悲情城市二十年</i>. 田園城市文化. 20119789866204258</span> </li> <li id="cite_note-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-32">^</a></b></span> <span class="reference-text">Lu Fei-I, <i>Taiwan Film: Politics, Economy, Aesthetics, 1949—1994</i>, 1998.</span> </li> <li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text">Wang, Toon. 「有良知的影片，不必要讚美」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 202-205.</span> </li> <li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text">Chang Shih-Lun, "<a rel="nofollow" class="external text" href="https://hdl.handle.net/11296/tq88e2">Discursive Formation of the 'Taiwanese New Cinema': A Historical Analysis (1965-2000)</a>," 2001.</span> </li> <li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text">詹宏志. 「不過每一個他們試圖要幫助侯孝賢的方法，我聽起來都是消滅侯孝賢的方法」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 238-245.</span> </li> <li id="cite_note-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-36">^</a></b></span> <span class="reference-text">Wan, Jen. 「所謂運動跟潮流絕對不是一個人的」" <i>Film 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id="cite_note-40"><span class="mw-cite-backlink"><b><a href="#cite_ref-40">^</a></b></span> <span class="reference-text">Tsai, Ming-Liang. 「新電影開始有了美學的概念」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 174-177.</span> </li> <li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text">Alphonse Youth Leigh, "Cinema, Film, and Film Publications," <i>Independence Evening Post</i>, 1986. pp. 46-48.</span> </li> <li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text">陳儒修. 「30年前的台灣新電影，意味著什麼？」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. pp. 276-279.</span> </li> <li id="cite_note-43"><span class="mw-cite-backlink"><b><a href="#cite_ref-43">^</a></b></span> <span class="reference-text">詹宏志. 「不過每一個他們試圖要幫助侯孝賢的方法，我聽起來都是消滅侯孝賢的方法」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 238-245.</span> </li> <li id="cite_note-44"><span class="mw-cite-backlink"><b><a href="#cite_ref-44">^</a></b></span> <span class="reference-text">李湘婷，【<a rel="nofollow" class="external text" href="https://www.taiwan-panorama.com/Articles/Details?Guid=73e1ac9b-6ecf-46e8-b1a0-982c7e257738&CatId=8&postname=%E5%8F%B0%E7%81%A3%E9%9B%BB%E5%BD%B1%E6%96%B0%E6%B5%AA%E6%BD%AE%E3%80%80%E4%B8%96%E7%95%8C%E9%83%BD%E7%9C%8B%E8%A6%8B">台灣電影新浪潮　世界都看見</a>】，<i>Taiwan Panorama</i>, 2015.</span> </li> <li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text">詹志宏 et al. 「台灣新電影宣言」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 298-301.</span> </li> <li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text">Lu Fei-I, "<i><a rel="nofollow" class="external text" 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20119789866204258</span> </li> <li id="cite_note-54"><span class="mw-cite-backlink"><b><a href="#cite_ref-54">^</a></b></span> <span class="reference-text">Lim, Song Hwee. <i>Taiwan Cinema as Soft Power: Authorship, Transnationality, Historiography</i>. Oxford University Press, 2021, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Foso%2F9780197503379.001.0001">10.1093/oso/9780197503379.001.0001</a>.</span> </li> <li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text">Berry, Chris, and Feiyi. Lu. I<i>sland on the Edge : Taiwan New Cinema and After</i>. Hong Kong University Press, 2005.</span> </li> <li id="cite_note-56"><span class="mw-cite-backlink"><b><a href="#cite_ref-56">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREF張2011" class="citation book cs1">張, 靚蓓 (2011). <i>凝望.時代: 穿越悲情城市二十年</i>. 田園城市文化. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9789866204258" title="Special:BookSources/9789866204258"><bdi>9789866204258</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=%E5%87%9D%E6%9C%9B.%E6%99%82%E4%BB%A3%3A+%E7%A9%BF%E8%B6%8A%E6%82%B2%E6%83%85%E5%9F%8E%E5%B8%82%E4%BA%8C%E5%8D%81%E5%B9%B4&rft.pub=%E7%94%B0%E5%9C%92%E5%9F%8E%E5%B8%82%E6%96%87%E5%8C%96&rft.date=2011&rft.isbn=9789866204258&rft.aulast=%E5%BC%B5&rft.aufirst=%E9%9D%9A%E8%93%93&rfr_id=info%3Asid%2Fen.wikipedia.org%3ATaiwan+New+Cinema" class="Z3988"></span></span> </li> <li id="cite_note-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-57">^</a></b></span> <span class="reference-text">Lee Daw-ming, "<a rel="nofollow" class="external text" href="http://techart.tnua.edu.tw/~dmlee/article1.html">Gazging back in Retrospect: A Hundred Year of Taiwan Cinema</a>," 2001.</span> </li> <li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text">Hou Hsiao-Hsien. 「基本上就是有限制，所以才會有反抗」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 164-169.</span> </li> <li id="cite_note-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-59">^</a></b></span> <span class="reference-text">張, 靚蓓 (2011). <i>凝望.時代 : 穿越悲情城市二十年</i>. 田園城市文化. 20119789866204258</span> </li> <li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text">Chen Kuo-fu. <i>Revisiting the Past: Tracing the Origins of Taiwanese Cinema</i>, 1998. p. 4.</span> </li> <li id="cite_note-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-61">^</a></b></span> <span class="reference-text">Chen Kuo-fu. <i>Revisiting the Past: Tracing the Origins of Taiwanese Cinema</i>, 1998. p. 13.</span> </li> <li id="cite_note-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-62">^</a></b></span> <span class="reference-text">Hou Hsiao-Hsien. 「基本上就是有限制，所以才會有反抗」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 164-169.</span> </li> <li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text">Wan, Jen. 「所謂運動跟潮流絕對不是一個人的」" <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 196-199.</span> </li> <li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text">Chen Kuo-fu. <i>Revisiting the Past: Tracing the Origins of Taiwanese Cinema</i>, 1998. pp. 54-68.</span> </li> <li id="cite_note-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-65">^</a></b></span> <span class="reference-text">詹宏志. 「不過每一個他們試圖要幫助侯孝賢的方法，我聽起來都是消滅侯孝賢的方法」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 238-245.</span> </li> <li id="cite_note-66"><span class="mw-cite-backlink"><b><a href="#cite_ref-66">^</a></b></span> <span class="reference-text">吳念真. 「過去那種革命情感，是我最懷念的」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 246-249.</span> </li> <li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text">張, 靚蓓 (2011). <i>凝望.時代 : 穿越悲情城市二十年</i>. 田園城市文化. 20119789866204258</span> </li> <li id="cite_note-68"><span class="mw-cite-backlink"><b><a href="#cite_ref-68">^</a></b></span> <span class="reference-text">張作驥. 「至於做了什麼電影，是創作者的事情」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 264-267.</span> </li> <li id="cite_note-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-69">^</a></b></span> <span class="reference-text">詹宏志. 「不過每一個他們試圖要幫助侯孝賢的方法，我聽起來都是消滅侯孝賢的方法」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 238-245.</span> </li> <li id="cite_note-70"><span class="mw-cite-backlink"><b><a href="#cite_ref-70">^</a></b></span> <span class="reference-text"> Tweedie, James. <i>The Age of New Waves : Art Cinema and the Staging of Globalization</i>. Oxford University Press, 2013.</span> </li> <li id="cite_note-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-71">^</a></b></span> <span class="reference-text">李湘婷，【<a rel="nofollow" class="external text" href="https://www.taiwan-panorama.com/Articles/Details?Guid=73e1ac9b-6ecf-46e8-b1a0-982c7e257738&CatId=8&postname=%E5%8F%B0%E7%81%A3%E9%9B%BB%E5%BD%B1%E6%96%B0%E6%B5%AA%E6%BD%AE%E3%80%80%E4%B8%96%E7%95%8C%E9%83%BD%E7%9C%8B%E8%A6%8B">台灣電影新浪潮　世界都看見</a>】，<i>Taiwan Panorama</i>, 2015.</span> </li> <li id="cite_note-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-72">^</a></b></span> <span class="reference-text">Wong, Kar-Wai. 「新的人會帶來新的衝擊」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 170-173.</span> </li> <li id="cite_note-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-73">^</a></b></span> <span class="reference-text">Tsai, Ming-Liang. 「新電影開始有了美學的概念」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 174-177.</span> </li> <li id="cite_note-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-74">^</a></b></span> <span class="reference-text">張, 靚蓓 (2011). <i>凝望.時代 : 穿越悲情城市二十年</i>. 田園城市文化. 20119789866204258</span> </li> <li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text">Berry, Chris, and Feiyi. Lu. I<i>sland on the Edge : Taiwan New Cinema and After</i>. Hong Kong University Press, 2005.</span> </li> <li id="cite_note-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-76">^</a></b></span> <span class="reference-text">Tsai, Beth. <i>Taiwan New Cinema at Film Festivals</i>. Edinburgh University Press, 2023.</span> </li> <li id="cite_note-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-77">^</a></b></span> <span class="reference-text">李湘婷，【<a rel="nofollow" class="external text" href="https://www.taiwan-panorama.com/Articles/Details?Guid=73e1ac9b-6ecf-46e8-b1a0-982c7e257738&CatId=8&postname=%E5%8F%B0%E7%81%A3%E9%9B%BB%E5%BD%B1%E6%96%B0%E6%B5%AA%E6%BD%AE%E3%80%80%E4%B8%96%E7%95%8C%E9%83%BD%E7%9C%8B%E8%A6%8B">台灣電影新浪潮　世界都看見</a>】，<i>Taiwan Panorama</i>, 2015.</span> </li> <li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text">小野. 「那時候大家都只想做我們自己的東西」" <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 206-213.</span> </li> <li id="cite_note-79"><span class="mw-cite-backlink"><b><a href="#cite_ref-79">^</a></b></span> <span class="reference-text">陳儒修. 「30年前的台灣新電影，意味著什麼？」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.</span> </li> <li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text">張, 靚蓓 (2011). <i>凝望.時代 : 穿越悲情城市二十年</i>. 田園城市文化. 20119789866204258</span> </li> <li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text">林傳凱，【萬仁，《超級大國民》，一九九四】，《看得見的記憶：二十二部電影裡的百年臺灣電影史》，春山出版， 2020。</span> </li> <li id="cite_note-82"><span class="mw-cite-backlink"><b><a href="#cite_ref-82">^</a></b></span> <span class="reference-text">Wan, Jen. 「所謂運動跟潮流絕對不是一個人的」" <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 196-199.</span> </li> <li id="cite_note-83"><span class="mw-cite-backlink"><b><a href="#cite_ref-83">^</a></b></span> <span class="reference-text">詹志宏 et al. 「台灣新電影宣言」 <i>Film in Our Time:</i> <i>Taiwan New Cinema on the Road</i>《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 298-301.</span> </li> </ol></div></div> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol ol,.mw-parser-output .hlist ol ul,.mw-parser-output .hlist ul dl,.mw-parser-output .hlist ul ol,.mw-parser-output .hlist ul ul{display:inline}.mw-parser-output .hlist .mw-empty-li{display:none}.mw-parser-output .hlist dt::after{content:": "}.mw-parser-output .hlist dd::after,.mw-parser-output .hlist li::after{content:" · ";font-weight:bold}.mw-parser-output .hlist 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src="//upload.wikimedia.org/wikipedia/commons/thumb/7/72/Flag_of_the_Republic_of_China.svg/23px-Flag_of_the_Republic_of_China.svg.png" decoding="async" width="23" height="15" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/72/Flag_of_the_Republic_of_China.svg/35px-Flag_of_the_Republic_of_China.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/72/Flag_of_the_Republic_of_China.svg/45px-Flag_of_the_Republic_of_China.svg.png 2x" data-file-width="900" data-file-height="600" /></span></span></span> <a href="/wiki/Cinema_of_Taiwan" title="Cinema of Taiwan">Cinema of Taiwan</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Category:Taiwanese_films" title="Category:Taiwanese films">Films (A–Z)</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/List_of_Taiwanese_films" title="List of Taiwanese films">Films by year</a>: <a href="/wiki/List_of_Taiwanese_films_before_1970" title="List of Taiwanese films before 1970">Pre 1970</a></li> <li><a href="/wiki/List_of_Taiwanese_films_of_the_1970s" title="List of Taiwanese films of the 1970s">1970s</a></li> <li><a href="/wiki/List_of_Taiwanese_films_of_the_1980s" title="List of Taiwanese films of the 1980s">1980s</a></li> <li><a href="/wiki/List_of_Taiwanese_films_of_the_1990s" title="List of Taiwanese films of the 1990s">1990s</a></li> <li><a href="/wiki/List_of_Taiwanese_films_of_the_2000s" title="List of Taiwanese films of the 2000s">2000s</a></li> <li><a href="/wiki/List_of_Taiwanese_films_of_the_2010s" title="List of Taiwanese films of the 2010s">2010s</a></li> <li><a href="/wiki/List_of_Taiwanese_films_of_the_2020s" title="List of Taiwanese films of the 2020s">2020s</a></li></ul> </div></td><td class="noviewer navbox-image" rowspan="5" style="width:1px;padding:0 0 0 2px"><div><span typeof="mw:File"><a href="/wiki/File:Taiwan_film_clapperboard.svg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/04/Taiwan_film_clapperboard.svg/75px-Taiwan_film_clapperboard.svg.png" decoding="async" width="75" height="75" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/04/Taiwan_film_clapperboard.svg/113px-Taiwan_film_clapperboard.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/04/Taiwan_film_clapperboard.svg/150px-Taiwan_film_clapperboard.svg.png 2x" data-file-width="60" data-file-height="60" /></a></span></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Filmmakers</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Category:Taiwanese_actors" title="Category:Taiwanese actors">Actors</a></li> <li><a href="/wiki/Category:Taiwanese_cinematographers" title="Category:Taiwanese cinematographers">Cinematographers</a></li> <li><a href="/wiki/Category:Taiwanese_film_directors" title="Category:Taiwanese film directors">Directors</a></li> <li><a href="/wiki/Category:Taiwanese_film_producers" title="Category:Taiwanese film producers">Producers</a></li> <li><a href="/wiki/Category:Taiwanese_screenwriters" title="Category:Taiwanese screenwriters">Screenwriters</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Organization</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Taipei_Film_Commission" title="Taipei Film Commission">Taipei Film Commission</a></li> <li><a href="/wiki/Taiwan_Film_and_Audiovisual_Institute" title="Taiwan Film and Audiovisual Institute">Taiwan Film and Audiovisual Institute</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Award</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Golden_Horse_Film_Festival_and_Awards" title="Golden Horse Film Festival and Awards">Golden Horse Awards</a></li> <li><a href="/wiki/Taipei_Film_Festival" title="Taipei Film Festival">Taipei Film Festival</a> (<a href="/wiki/Taipei_Film_Awards" title="Taipei Film Awards">Taipei Film Awards</a>)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a class="mw-selflink selflink">Taiwan New Cinema</a></li> <li><a href="/wiki/List_of_cinemas_in_Taiwan" title="List of cinemas in Taiwan">List of cinemas in Taiwan</a></li> <li><a href="/wiki/List_of_Taiwanese_submissions_for_the_Academy_Award_for_Best_Foreign_Language_Film" class="mw-redirect" title="List of Taiwanese submissions for the Academy Award for Best Foreign Language Film">List of Taiwanese submissions for the Academy Award for Best Foreign Language Film</a></li> <li><a href="/wiki/List_of_highest-grossing_films_in_Taiwan" title="List of highest-grossing films in Taiwan">List of highest-grossing films in Taiwan</a></li></ul> </div></td></tr></tbody></table></div>    </div><noscript><img src="https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1" alt="" width="1" height="1" style="border: none; position: absolute;"></noscript> <div class="printfooter" data-nosnippet="">Retrieved from "<a dir="ltr" href="https://en.wikipedia.org/w/index.php?title=Taiwan_New_Cinema&oldid=1173514219">https://en.wikipedia.org/w/index.php?title=Taiwan_New_Cinema&oldid=1173514219</a>"</div></div> <div id="catlinks" class="catlinks" data-mw="interface"><div id="mw-normal-catlinks" class="mw-normal-catlinks"><a href="/wiki/Help:Category" title="Help:Category">Categories</a>: <ul><li><a href="/wiki/Category:1980s_in_film" 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