268:, 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. 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,
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397:, 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. It extensively discussed and strongly criticized the Film Critics China that caused the Apple-Paring Incident at that time. 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".
94:, 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. 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. Under the special circumstances of the Chinese Civil War and the
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123:, 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. Surprisingly, the approach of concealing the bad while promoting the good and of advocating humanitarianism were well-received in the Taiwanese market. This innovation not only elevated the production standards of Taiwanese films but also opened up the overseas Chinese market for films.
259:, began producing realistic works that resonated with the cinematic movement, sparking a trend of realistic filmmaking. 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.
390:, no film had ever been referred to as Taiwanese cinema. 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.
41:) 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
285:
directors became increasingly dissatisfied with the Film
Critics China. 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.
410:
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
284:
films prioritized commercial productions, leading to a growing divide between the critics and supporters of each side. 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
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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
1378:
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
323:
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.
209:
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
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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
440:
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
301:. 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.
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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. The New Cinema films focused on
357:, providing a nuanced reflection of Taiwan's modern history and garnering much praise. 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.
436:
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
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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
114:
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,
315:, 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.
193:, 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." In 1980, the
197:
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.
289:
media and film criticism system of that time. Yang's provocative statement was seen as proclaiming the death of the New Cinema movement. On
January 24, 1987, the manifesto was published in the Literary Supplement of the
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425:
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
222:, Ko I-chen, and Chang Yi—joined the Central Motion Picture Corporation and proposed a collaborative project of low-budget films. Through the efforts of Ming Ji and Hsiao Yeh, they produced the four-segment
236:
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
308:
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
232:. 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. For this reason,
158:, 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,
341:. This marked the first time a Taiwanese film had received recognition at one of the world's top three film festivals. The film depicts the prominent Lin family in the
71:
implemented by the
Japanese rule, including the Japanization of spoken languages in Taiwan. The Nationalist government started the promotion of Mandarin. In 1949, the
91:
98:
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
418:
and extensively employing non-celebrity or non-professional actors in films to create characters that are closer to ordinary people and their experience.
173:
However, these films eventually faced rejection from audiences due to their repetitive nature and adherence to established conventions. The influx of
414:
Employment of non-celebrity and non-professional actors: Its attention to Taiwan's local culture expresses a breakthrough by departing from the
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was officially organized by the Taipei Film Festival Executive Committee. Under the auspices of the organizing committee, the book
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after Japan unconditionally surrendered. The Republic of China's Nationalist government took over Taiwan and abolished the
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In 1989, Hou Hsiao-Hsien, a participant in the New Cinema movement, achieved international recognition with his film,
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was appointed as the Deputy Manager of the Production Planning Department and the Head of the Planning Team, and
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Establishment of a visual aesthetic style: It establishes key cinematic features incorporating both realist and
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In the 1950s, to comply with the government's political agenda, the three major state-owned film studios (
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83:(CCP) ended with the CCP taking control of mainland China, while the Nationalist Kuomintang Party
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382:, 1998) was published. The book positioned the provenience of Taiwanese cinema with the film,
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386:, which marked the beginning of the Taiwan New Cinema movement. It argued that, prior to
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to accelerate economic development. As a result, Taiwanese society transitioned from an
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On July 15, 1987, the Nationalist government announced the lifting of the 38-year-long
155:
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Discursive Formation of the 'Taiwanese New Cinema': A Historical Analysis (1965-2000)
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170:, all of which became the mainstream media providing entertainment for the public.
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List of Taiwanese submissions for the Academy Award for Best Foreign Language Film
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into the Taiwanese market further exacerbated the decline of Taiwanese cinema.
143:
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Transnational Representations : The State of Taiwan Film in the 1960s And 70s
1358:
Transnational Representations : The State of Taiwan Film in the 1960s And 70s
174:
2602:
1339:. Edited by Emilie Yueh-yu Yeh et al., University of Michigan Press, 2022,
717:
346:
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area as they navigate through the periods of the Japanese rule, the end of
244:
163:
68:
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Taiwan Cinema as Soft Power: Authorship, Transnationality, Historiography
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Taiwan Cinema as Soft Power: Authorship, Transnationality, Historiography
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In addition, many films adapted from the novels of Taiwanese writer
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The Age of New Waves : Art Cinema and the Staging of Globalization
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The Age of New Waves : Art Cinema and the Staging of Globalization
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The Age of New Waves : Art Cinema and the Staging of Globalization
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532:
252:
190:
827:
Taiwan Film Manifesto of the 76th Year of the Republic of China
342:
272:
established the theme and direction for the Taiwan New Cinema.
206:, an emerging writer at the time, was hired for screenwriting.
1858:
Alphonse Youth Leigh, "Cinema, Film, and Film Publications,"
1244:
240:
symbolized the difference between New Cinema and Old Cinema.
2215:
Revisiting the Past: Tracing the Origins of Taiwanese Cinema
2170:
Revisiting the Past: Tracing the Origins of Taiwanese Cinema
2157:
Revisiting the Past: Tracing the Origins of Taiwanese Cinema
1464: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。
376:
Revisiting the Past: Tracing the Origins of Taiwanese Cinema
2466: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。
2115:
Gazging back in Retrospect: A Hundred Year of Taiwan Cinema
2030:
Gazging back in Retrospect: A Hundred Year of Taiwan Cinema
1681:
Gazging back in Retrospect: A Hundred Year of Taiwan Cinema
1983:彭小妍 (Peng, Hsiao-yen). “Auteurism and Taiwan New Cinema.”
1939:
Reviewing the Fifty Years of Taiwan Cinema through Numbers
1814:
Reviewing the Fifty Years of Taiwan Cinema through Numbers
1654: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。
1369: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。
1295:
Taiwan New Cinema Revisited I. Film Appreciation Journal
1723:
Taiwan Film: Politics, Economy, Aesthetics, 1949—1994
360:
109:
243:
Subsequently, emerging Taiwanese directors, such as
365:
58:
430:
2728:
1878:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. pp. 276-279.
393:The entire book focused on the retrospective of
213:
2498:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 298-301.
2482:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 196-199.
2444:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.
2428:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 206-213.
2380:sland on the Edge : Taiwan New Cinema and After
2356:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 174-177.
2340:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 170-173.
2294:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 238-245.
2278:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 264-267.
2249:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 246-249.
2233:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 238-245.
2204:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 196-199.
2188:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 164-169.
2133:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 164-169.
2077:sland on the Edge : Taiwan New Cinema and After
2019:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 164-169.
2003:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 206-213.
1974:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 206-213.
1958:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 298-301.
1927:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 298-301.
1894:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 238-245.
1849:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 174-177.
1833:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 170-173.
1802:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.
1786:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 196-199.
1770:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 238-245.
1741:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 202-205.
1699:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 246-249.
1670:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 200-201.
1645:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.
1627:Film in Our Time: Taiwan New Cinema on the Road
1616:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 246-249.
1600:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 206-213.
1563:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 232-237.
1547:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.
1531:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 232-237.
1480:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 232-237.
1420:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.
1404:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 206-213.
1313:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 276-279.
184:
63:On August 15, 1945, Taiwan was liberated from
2520:
400:
1446:. 1st ed., Hong Kong University Press, 2014.
1360:. 1st ed., Hong Kong University Press, 2014.
318:
53:
45:with its innovative form and unique style.
2527:
2513:
1629:《光陰之旅：台灣新電影在路上》edited by 王耿瑜, 2015. p. 20.
262:In 1983, the three-segment anthology film
2287: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」
2226: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」
1887: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」
1763: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」
1663: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」。
2716:List of highest-grossing films in Taiwan
218:In 1982, three new-generation directors—
142:, who was serving as the Premier of the
485:, Ko I-chen, Tao Te-chen, and Chang Yi
119:, the newly appointed president at the
14:
2729:
138:In the 1970s, under the leadership of
2659:Taiwan Film and Audiovisual Institute
2508:
27:Film movement in Taiwan, 1982 to 1987
2181:Hou Hsiao-Hsien. 「基本上就是有限制，所以才會有反抗」
2126:Hou Hsiao-Hsien. 「基本上就是有限制，所以才會有反抗」
2012:Hou Hsiao-Hsien. 「基本上就是有限制，所以才會有反抗」
1504:Once Upon a Time in Hollywood Taiwan
1431:Once Upon a Time in Hollywood Taiwan
146:at the time, Taiwan embarked on the
2395:. Edinburgh University Press, 2023.
2393:Taiwan New Cinema at Film Festivals
2382:. Hong Kong University Press, 2005.
2079:. Hong Kong University Press, 2005.
24:
2064:10.1093/oso/9780197503379.001.0001
1582:10.1093/oso/9780197503379.001.0001
411:experienced by people in each era.
361:Contributions of Taiwan New Cinema
121:Central Motion Picture Corporation
110:Innovative productions (1960–1978)
25:
2758:
2349:Tsai, Ming-Liang. 「新電影開始有了美學的概念」
2088:
2058:. Oxford University Press, 2021,
1842:Tsai, Ming-Liang. 「新電影開始有了美學的概念」
1576:. Oxford University Press, 2021,
2601:
2536:
2307:. Oxford University Press, 2013.
1493:. Oxford University Press, 2013.
1326:. Oxford University Press, 2013.
366:The meaning of Taiwan New Cinema
59:Political propaganda (1945–1960)
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1379:Central University). pp. 21-29.
210:realistic filmmaking approach.
148:Ten Major Construction Projects
75:between the Nationalist Party (
2378:Berry, Chris, and Feiyi. Lu. I
2075:Berry, Chris, and Feiyi. Lu. I
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1363:
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431:Influence of Taiwan New Cinema
13:
1:
2496:Taiwan New Cinema on the Road
2480:Taiwan New Cinema on the Road
2475:Wan, Jen. 「所謂運動跟潮流絕對不是一個人的」"
2442:Taiwan New Cinema on the Road
2426:Taiwan New Cinema on the Road
2354:Taiwan New Cinema on the Road
2338:Taiwan New Cinema on the Road
2292:Taiwan New Cinema on the Road
2276:Taiwan New Cinema on the Road
2247:Taiwan New Cinema on the Road
2231:Taiwan New Cinema on the Road
2202:Taiwan New Cinema on the Road
2197:Wan, Jen. 「所謂運動跟潮流絕對不是一個人的」"
2186:Taiwan New Cinema on the Road
2131:Taiwan New Cinema on the Road
2017:Taiwan New Cinema on the Road
2001:Taiwan New Cinema on the Road
1972:Taiwan New Cinema on the Road
1956:Taiwan New Cinema on the Road
1925:Taiwan New Cinema on the Road
1892:Taiwan New Cinema on the Road
1876:Taiwan New Cinema on the Road
1847:Taiwan New Cinema on the Road
1831:Taiwan New Cinema on the Road
1800:Taiwan New Cinema on the Road
1784:Taiwan New Cinema on the Road
1779:Wan, Jen. 「所謂運動跟潮流絕對不是一個人的」"
1768:Taiwan New Cinema on the Road
1739:Taiwan New Cinema on the Road
1697:Taiwan New Cinema on the Road
1668:Taiwan New Cinema on the Road
1643:Taiwan New Cinema on the Road
1614:Taiwan New Cinema on the Road
1598:Taiwan New Cinema on the Road
1561:Taiwan New Cinema on the Road
1545:Taiwan New Cinema on the Road
1529:Taiwan New Cinema on the Road
1478:Taiwan New Cinema on the Road
1418:Taiwan New Cinema on the Road
1402:Taiwan New Cinema on the Road
1337:32 New Takes on Taiwan Cinema
1311:Taiwan New Cinema on the Road
1280:
734:A Time to Live, A Time to Die
544:A Flower in The Raining Night
214:Taiwan New Cinema (1982–1987)
195:Government Information Office
2333:Wong, Kar-Wai. 「新的人會帶來新的衝擊」
1826:Wong, Kar-Wai. 「新的人會帶來新的衝擊」
1335:Yeh, Emilie Yueh-yu, et al.
445:
185:Cinematic reform (1978–1982)
7:
2457:. 田園城市文化. 20119789866204258
2369:. 田園城市文化. 20119789866204258
2262:. 田園城市文化. 20119789866204258
2146:. 田園城市文化. 20119789866204258
2045:. 田園城市文化. 20119789866204258
1734:Wang, Toon. 「有良知的影片，不必要讚美」
1712:. 田園城市文化. 20119789866204258
1260:
531:, Tseng Chuang-hsiang, and
297:and the Hong Kong magazine
10:
2763:
1556:王建業. 「他們很尊重攝影機前細微、有張力的世界」
1524:王建業. 「他們很尊重攝影機前細微、有張力的世界」
1473:王建業. 「他們很尊重攝影機前細微、有張力的世界」
401:Style of Taiwan New Cinema
333:, winning the prestigious
48:
2706:List of cinemas in Taiwan
2693:
2667:
2646:
2610:
2599:
2549:
2437:陳儒修. 「30年前的台灣新電影，意味著什麼？」
1871:陳儒修. 「30年前的台灣新電影，意味著什麼？」
1860:Independence Evening Post
1795:陳儒修. 「30年前的台灣新電影，意味著什麼？」
1638:陳儒修. 「30年前的台灣新電影，意味著什麼？」
1540:陳儒修. 「30年前的台灣新電影，意味著什麼？」
1413:陳儒修. 「30年前的台灣新電影，意味著什麼？」
1306:陳儒修. 「30年前的台灣新電影，意味著什麼？」
1275:Taiwanese-language Cinema
1190:
1128:
1079:
1044:
1011:
925:
915:The Last Autumn of Lao Ke
847:
799:
712:
690:Nature Is Quiet Beautiful
615:
505:
493:Green Green Grass of Home
471:
452:
319:Repercussions (1988–1996)
104:Taiwanese-language cinema
2421:小野. 「那時候大家都只想做我們自己的東西」"
2271:張作驥. 「至於做了什麼電影，是創作者的事情」
1996:小野. 「那時候大家都只想做我們自己的東西」"
1967:小野. 「那時候大家都只想做我們自己的東西」"
1593:小野. 「那時候大家都只想做我們自己的東西」"
1397:小野. 「那時候大家都只想做我們自己的東西」"
634:Second Spring of Mr. Muo
54:Before Taiwan New Cinema
2242:吳念真. 「過去那種革命情感，是我最懷念的」
1692:吳念真. 「過去那種革命情感，是我最懷念的」
1609:吳念真. 「過去那種革命情感，是我最懷念的」
852:Farewell to the Channel
92:Taiwan Film Culture Co.
81:Chinese Communist Party
2654:Taipei Film Commission
2455:凝望.時代 : 穿越悲情城市二十年
2367:凝望.時代 : 穿越悲情城市二十年
2303: Tweedie, James.
2260:凝望.時代 : 穿越悲情城市二十年
2144:凝望.時代 : 穿越悲情城市二十年
2043:凝望.時代 : 穿越悲情城市二十年
1710:凝望.時代 : 穿越悲情城市二十年
1515:葉龍彥，《圖解台灣電影史》，晨星，2017。
1455:葉龍彥，《圖解台灣電影史》，晨星，2017。
1388:葉龍彥，《圖解台灣電影史》，晨星，2017。
1148:Goodbye South, Goodbye
576:The Boys from Fengkuei
560:That Day, on the Beach
537:Apple-Paring Incident
280:, while Hong Kong and
2491:詹志宏 et al. 「台灣新電影宣言」
1951:詹志宏 et al. 「台灣新電影宣言」
1920:詹志宏 et al. 「台灣新電影宣言」
1345:10.3998/mpub.11602090
1050:A Confucian Confusion
981:A Brighter Summer Day
661:A Summer at Grandpa's
2680:Taipei Film Festival
1506:. Spring Hill, 2020.
1433:. Spring Hill, 2020.
1163:Buddha Bless America
1099:Good Men, Good Women
867:Daughter of the Nile
793:Tseng Chuang-hsiang
694:Tseng Chuang-hsiang
372:Taipei Film Festival
339:Venice Film Festival
35:New Taiwanese Cinema
2675:Golden Horse Awards
1987:, 2012, pp. 125–48.
1683:," 2001. pp. 41-51.
1196:Flowers of Shanghai
777:The Loser, the Hero
370:In 1998, the first
2747:New Wave in cinema
2684:Taipei Film Awards
2217:, 1998. pp. 54-68.
1862:, 1986. pp. 46-48.
1297:, issue 191, 2022.
1227:Connection by Fate
1084:The Peony Pavilion
789:The Butcher's Wife
453:Taiwan New Cinema
160:martial arts films
2724:
2723:
2701:Taiwan New Cinema
2493:Film in Our Time:
2477:Film in Our Time:
2439:Film in Our Time:
2423:Film in Our Time:
2351:Film in Our Time:
2335:Film in Our Time:
2289:Film in Our Time:
2273:Film in Our Time:
2244:Film in Our Time:
2228:Film in Our Time:
2199:Film in Our Time:
2183:Film in Our Time:
2128:Film in Our Time:
2014:Film in Our Time:
1998:Film in Our Time:
1969:Film in Our Time:
1953:Film in Our Time:
1922:Film in Our Time:
1889:Film in Our Time:
1873:Film in Our Time:
1844:Film in Our Time:
1828:Film in Our Time:
1797:Film in Our Time:
1781:Film in Our Time:
1765:Film in Our Time:
1750:Chang Shih-Lun, "
1736:Film in Our Time:
1694:Film in Our Time:
1665:Film in Our Time:
1640:Film in Our Time:
1611:Film in Our Time:
1595:Film in Our Time:
1558:Film in Our Time:
1542:Film in Our Time:
1526:Film in Our Time:
1475:Film in Our Time:
1415:Film in Our Time:
1399:Film in Our Time:
1308:Film in Our Time:
1258:
1257:
999:Hill of No Return
931:A City of Sadness
749:Kuei-Mei, a Woman
335:Golden Lion Award
330:A City of Sadness
73:Chinese Civil War
31:Taiwan New Cinema
16:(Redirected from
2754:
2742:Cinema of Taiwan
2623:Cinematographers
2605:
2543:Cinema of Taiwan
2541:
2540:
2539:
2529:
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2515:
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2091:凝望.時代: 穿越悲情城市二十年
2086:
2080:
2073:
2067:
2054:Lim, Song Hwee.
2052:
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1994:
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1570:
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1489:Tweedie, James.
1487:
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1354:
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1333:
1327:
1322:Tweedie, James.
1320:
1314:
1304:
1298:
1291:
1267:Cinema of Taiwan
1115:Super Citizen Ko
1017:The Puppetmaster
817:Dust in the Wind
523:The Sandwich Man
450:
449:
395:The Sandwich Man
388:The Sandwich Man
384:The Sandwich Man
293:, as well as in
270:The Sandwich Man
265:The Sandwich Man
152:agrarian society
140:Chiang Ching-kuo
43:cinema of Taiwan
21:
2762:
2761:
2757:
2756:
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2416:
2410:Taiwan Panorama
2403:
2399:
2390:
2386:
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2373:
2364:
2360:
2348:
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2332:
2328:
2322:Taiwan Panorama
2315:
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2113:Lee Daw-ming, "
2112:
2108:
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2087:
2083:
2074:
2070:
2053:
2049:
2040:
2036:
2028:Lee Daw-ming, "
2027:
2023:
2011:
2007:
1995:
1991:
1982:
1978:
1966:
1962:
1950:
1946:
1935:
1931:
1919:
1915:
1909:Taiwan Panorama
1902:
1898:
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1679:Lee Daw-ming, "
1678:
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1592:
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1571:
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1555:
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1519:
1514:
1510:
1502:Su, Chih-heng.
1501:
1497:
1488:
1484:
1472:
1468:
1463:
1459:
1454:
1450:
1441:
1437:
1429:Su, Chih-heng.
1428:
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1396:
1392:
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1301:
1292:
1288:
1283:
1263:
1202:Hou Hsiao-Hsien
1154:Hou Hsiao-Hsien
1105:Hou Hsiao-Hsien
1066:A Borrowed Life
1032:Treasure Island
1023:Hou Hsiao-Hsien
946:Banana Paradise
937:Hou Hsiao-Hsien
883:Osmanthus Alley
873:Hou Hsiao-Hsien
823:Hou Hsiao-Hsien
740:Hou Hsiao-Hsien
667:Hou Hsiao-Hsien
582:Hou Hsiao-Hsien
529:Hou Hsiao-Hsien
498:Hou Hsiao-Hsien
448:
433:
403:
368:
363:
321:
295:Wenxing Monthly
249:Hou Hsiao-Hsien
216:
187:
179:Hong Kong films
112:
61:
56:
51:
39:Taiwan New Wave
33:(also known as
28:
23:
22:
18:Taiwan New Wave
15:
12:
11:
5:
2760:
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2468:
2459:
2453:張, 靚蓓 (2011).
2446:
2430:
2414:
2397:
2384:
2371:
2365:張, 靚蓓 (2011).
2358:
2342:
2326:
2309:
2296:
2280:
2264:
2258:張, 靚蓓 (2011).
2251:
2235:
2219:
2206:
2190:
2174:
2172:, 1998. p. 13.
2161:
2148:
2142:張, 靚蓓 (2011).
2135:
2119:
2106:
2099:
2089:張, 靚蓓 (2011).
2081:
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2041:張, 靚蓓 (2011).
2034:
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2005:
1989:
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1960:
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1708:張, 靚蓓 (2011).
1701:
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1672:
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1647:
1631:
1625:小野。「我們的八十年代」，
1618:
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1586:
1565:
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1533:
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1508:
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1482:
1466:
1457:
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1442:Wicks, James.
1435:
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1356:Wicks, James.
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224:anthology film
215:
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189:In June 1978,
186:
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156:industrial one
144:Executive Yuan
111:
108:
60:
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55:
52:
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26:
9:
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4:
3:
2:
2759:
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2737:1980s in film
2735:
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2407:
2406:台灣電影新浪潮 世界都看見
2401:
2394:
2388:
2381:
2375:
2368:
2362:
2355:
2352:
2346:
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2319:
2318:台灣電影新浪潮 世界都看見
2313:
2306:
2300:
2293:
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2268:
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2255:
2248:
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2239:
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2223:
2216:
2213:Chen Kuo-fu.
2210:
2203:
2200:
2194:
2187:
2184:
2178:
2171:
2168:Chen Kuo-fu.
2165:
2159:, 1998. p. 4.
2158:
2155:Chen Kuo-fu.
2152:
2145:
2139:
2132:
2129:
2123:
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2110:
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2100:9789866204258
2096:
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2018:
2015:
2009:
2002:
1999:
1993:
1986:
1985:Xi ju yan jiu
1980:
1973:
1970:
1964:
1957:
1954:
1948:
1941:
1940:
1933:
1926:
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1917:
1910:
1906:
1905:台灣電影新浪潮 世界都看見
1900:
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1212:The Personals
1209:
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919:You-Ning Lee
918:
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913:
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904:
901:
899:
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890:
888:Chen Kun-Hou
887:
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763:Super Citizen
761:
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638:You-Ning Lee
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514:Chen Kun-Hou
513:
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299:Film Biweekly
296:
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225:
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211:
207:
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196:
192:
182:
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176:
171:
169:
165:
164:kung fu films
161:
157:
153:
149:
145:
141:
136:
134:
129:
124:
122:
118:
107:
105:
101:
97:
93:
88:
86:
82:
78:
74:
70:
66:
65:Japanese rule
46:
44:
40:
36:
32:
19:
2700:
2647:Organization
2495:
2492:
2487:
2479:
2476:
2471:
2462:
2454:
2449:
2441:
2438:
2433:
2425:
2422:
2417:
2409:
2400:
2392:
2391:Tsai, Beth.
2387:
2379:
2374:
2366:
2361:
2353:
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2337:
2334:
2329:
2321:
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2222:
2214:
2209:
2201:
2198:
2193:
2185:
2182:
2177:
2169:
2164:
2156:
2151:
2143:
2138:
2130:
2127:
2122:
2109:
2090:
2084:
2076:
2071:
2055:
2050:
2042:
2037:
2024:
2016:
2013:
2008:
2000:
1997:
1992:
1984:
1979:
1971:
1968:
1963:
1955:
1952:
1947:
1937:
1932:
1924:
1921:
1916:
1908:
1899:
1891:
1888:
1883:
1875:
1872:
1867:
1859:
1854:
1846:
1843:
1838:
1830:
1827:
1822:
1812:
1807:
1799:
1796:
1791:
1783:
1780:
1775:
1767:
1764:
1759:
1746:
1738:
1735:
1730:
1722:
1717:
1709:
1704:
1696:
1693:
1688:
1675:
1667:
1664:
1659:
1650:
1642:
1639:
1634:
1626:
1621:
1613:
1610:
1605:
1597:
1594:
1589:
1573:
1568:
1560:
1557:
1552:
1544:
1541:
1536:
1528:
1525:
1520:
1511:
1503:
1498:
1490:
1485:
1477:
1474:
1469:
1460:
1451:
1443:
1438:
1430:
1425:
1417:
1414:
1409:
1401:
1398:
1393:
1384:
1374:
1365:
1357:
1352:
1336:
1331:
1323:
1318:
1310:
1307:
1302:
1294:
1293:Lin, Mucai.
1289:
1272:
1243:
1226:
1210:
1194:
1179:
1162:
1146:
1132:
1113:
1097:
1083:
1064:
1048:
1031:
1015:
998:
979:
962:
945:
929:
914:
895:
881:
865:
851:
832:
815:
803:
788:
776:
762:
748:
732:
718:Taipei Story
716:
701:
689:
675:
659:
645:
633:
619:
604:
590:
574:
558:
542:
521:
509:
492:
475:
441:constraints.
394:
392:
387:
383:
375:
369:
355:White Terror
351:228 Incident
347:World War II
328:
326:
322:
310:
303:
298:
294:
290:
287:
274:
269:
263:
261:
245:Chen Kun-hou
242:
237:
233:
227:
217:
208:
188:
172:
168:comedy films
137:
132:
125:
113:
99:
89:
69:Japanization
62:
38:
34:
30:
29:
2551:Films (A–Z)
1936:Lu Fei-I, "
1811:Lu Fei-I, "
1251:Edward Yang
1218:Chen Kuo-fu
1168:Wu Nien-jen
1138:Edward Yang
1089:Chen Kuo-fu
1072:Wu Nien-jen
1056:Edward Yang
1037:Chen Kuo-fu
987:Edward Yang
968:Chen Kuo-fu
963:School Girl
840:Edward Yang
834:Terrorizers
724:Edward Yang
702:I Love Mary
566:Edward Yang
483:Edward Yang
477:In Our Time
461:Film Title
416:star system
380:Chen Kuo-fu
306:martial law
291:China Times
238:In Our Time
234:In Our Time
229:In Our Time
220:Edward Yang
204:Wu Nien-jen
87:to Taiwan.
2731:Categories
2611:Filmmakers
2093:. 田園城市文化.
1721:Lu Fei-I,
1281:References
1184:Ko I-chen
808:Ko I-chen
781:Peter Mak
706:Ko I-chen
609:Ko I-chen
591:Kendo Kids
510:Growing Up
353:, and the
278:art cinema
128:Chiung Yao
79:) and the
77:Kuomintang
2633:Producers
2628:Directors
1273:Taiyupian
1180:Blue Moon
1004:Wang Toon
951:Wang Toon
903:Wang Toon
681:Wang Toon
646:Jade Love
605:Kidnapped
550:Wong Toon
464:Director
446:Key films
423:modernist
282:Hollywood
257:Wang Toon
200:Hsiao Yeh
133:Taiyupian
117:Kung Hong
100:Taiyupian
85:retreated
2563:Pre 1970
2117:," 2001.
2032:," 2001.
1942:," 2003.
1817:," 2003.
1754:," 2001.
1261:See also
897:Strawman
754:Chang Yi
676:Run Away
651:Chang Yi
596:Chang Yi
426:methods.
313:movement
175:American
135:market.
96:Cold War
2412:, 2015.
2324:, 2015.
1911:, 2015.
1725:, 1998.
1232:Wan Jen
1133:Mahjong
1121:Wan Jen
857:Wan Jen
804:Reunion
768:Wan Jen
625:Wan Jen
533:Wan Jen
407:people.
337:at the
311:Tangwai
253:Wan Jen
191:Ming Ji
49:History
37:or the
2618:Actors
2097:
620:Ah Fei
349:, the
343:Jiufen
255:, and
166:, and
154:to an
2694:Other
2668:Award
2593:2020s
2588:2010s
2583:2000s
2578:1990s
2573:1980s
2568:1970s
2404:李湘婷，【
2316:李湘婷，【
1903:李湘婷，【
1245:Yi Yi
1240:2000
1191:1998
1176:1997
1129:1996
1080:1995
1045:1994
1012:1993
995:1992
976:1991
959:1990
926:1989
911:1988
848:1987
800:1986
713:1985
616:1984
506:1983
472:1982
467:Note
458:Year
2095:ISBN
437:art.
177:and
2060:doi
1578:doi
1341:doi
106:).
2733::
2561::
2408:】，
2320:】，
1907:】，
251:,
247:,
226:,
162:,
2686:)
2682:(
2528:e
2521:t
2514:v
2103:.
2066:.
2062::
1584:.
1580::
1347:.
1343::
378:(
102:(
20:)
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