Taiwan New Wave

Samantha Yearwood
Introduction
In short, New Taiwanese films focuses on
realism within its productions. The majority of
these films are centered around historical
events as well as covering sensitive topics that
are treated as “taboo” in today’s society. These
films also cover the timeless conflict between
traditional and modern values.

“New Taiwanese Cinema is a chronicle of the

socio-political, economic and even spiritual
transformations that the rapidly changing
country was undergoing, thanks to the dizzying
effects of modernity.”
- Swapnil Dhruv Bose Rebels of the Neon God (1992)
Histor
y
History
The Taiwan New Wave first developed from the
1980’s to the 1990’s, responding to the rise in
the popularity of Hong Kong Cinema. In order to
aid the director’s of this movement, the CMPC
(Central Motion Picture Corporation) started a
project. These New Wave directors strived to
separate Taiwan cinema from its past of
dramatic and unrealistic troupes to a more
realistic style that depicted commonalities of life
in Taiwan.

A Brighter Summer Day (1991)

Characteri
stics
Characteristics
Key Traits Realism
❏ Long takes Realism is a key trait in Taiwan New films.
❏ Urban settings These films are created to be a depiction of
❏ Low-key narratives life, not “kung-fu” or “melodramas” like the
❏ Austere appearance★ decades before the movement. According
❏ Selective non-diegetic music to Anya Kordecki, a film enthusiast and
❏ Few closeups traveler, “ New Wave film also aimed to
❏ Rectangular mise-en-scene (Rooms portray realistic tales of life in Taiwan. The
are clearly divided, walls are typically emphasis on realism led to the comparison
rectangle, and there are bountiful between these films and films of the Italian
parallel lines) Neorealism movement.” Taiwan New films
★ Dictionary definition: ”severe or strict in manner,
usually delve into critiques of authority and
attitude, or appearance.: "an austere man, with a government in general as it can be a
rigidly puritanical outlook" "an austere expression".” sensitive topic.
A City of Sadness (1989) | Shot
Restaurant (Urban)
Long take
Rectangular Mise-en-scene
Parallel lines
Important
Figures
 Important Figures

Hou Hsiao-Hsien Edward Yang Ang Lee Tsai Ming-Liang

 Important Figures
Hou Hsiao-Hsien Edward Yang
Hou focused on realism in his films, encouraging his Yang didn’t create films for commercial use but for
actors to improvise to make the film feel real. A City art. His film In Our Time (1982) was the first project
of Sadness was one of his films that won the Golden under CMPC and in his film Taipei Story (1985) he
Lion award and pushed the movement further by casted Hou Hsiao-Hsien as the lead character.
being centered on the White Terror in 1940.

Ang Lee Tsai Ming-Liang

Lee’s earliest works were centered around the clash Ming-Liang moved to Taiwan when he was 20,
between modernity and tradition. He’s one of the causing his works to be heavily influenced. He was a
most well known directors from the New Wave with well known director in the Second Wave. Vive
Crouching Tiger Hidden Dragon earning him his first L’Amour (1994) was centered around its theme of
Oscar nomination in 2000. Urban Alienation.
 Prime
Examples
Prime
Examples
❏ A City of Sadness (1989)
❏ Eternal Summer (2006)
❏ Prince of Tears (2009)
❏ Pushing Hands (1991)
❏ Taipei Story (1985)
❏ Three Times (2005)
❏ Vive L’amour (1994)
❏ Yi Yi (2000)
❏ Dust in the Wind (2010)
❏ A Brighter Summer Day (1991)★
❏ Rebels of the Neon God (1992)
A Brighter Summer Day (1991)
 A Brighter Summer Day
In this scene there are no closeups, long shots are primarily used
to give the viewer a better feel for the setting.

The storyline is primarily lowkey considering it’s practically a “day-

in-the-life” type of film of the main character in his teenage years
with his first love.

There is no non-diegetic sound in this scene just as the majority of

the film.

Although this scene isn’t in an urban setting, the final shot is shown
with the city landscape on the horizon.
Citations
Bose, Swapnil Dhruv. “10 Best Films of the Taiwanese New Wave.” Far Out Magazine, 20 Nov. 2020,
faroutmagazine.co.uk/taiwanese-new-wave-10-best-films/.

Cinematheque, Calgary. “Spotlight: Taiwanese New Wave.” Calgary Cinematheque,

calgarycinema.org/programming/spotlight-taiwanese-new-wave.

Emerson, Andrew. “The Beginner's GUIDE: New TAIWANESE Cinema.” Film Inquiry, 2 July 2019,
www.filminquiry.com/beginners-guide-new-taiwanese-cinema/.

Kordecki, Anya. “Defining Cultural Identity: Taiwanese New Wave Cinema.” Culture Trip, The Culture Trip, 12 Dec.
2012, theculturetrip.com/asia/taiwan/articles/defining-cultural-identity-taiwanese-new-wave-cinema/.

Yang, Edward, director. A Brighter Summer Day. Jane Balfour Films, 2011.

5, Posted on April, and Author libmedia. “Indiana University Bloomington.” Media Beat, 2 June 2021,
blogs.libraries.indiana.edu/mediabeat/2021/04/05/taiwanese-new-wave/.