What is the significance of the Taiwan New Cinema now, about 30 years afterward? In what ways does the Taiwan New Cinema still shape present day Taiwan cinema? Is it a burden for present day filmmakers, film audiences, and film scholars?
I attach the file for references.
Please make references from “Kuei-fen Chiu, Ming-yeh T. Rawnsley, and Gary Rawnsley eds., Taiwan Cinema: International Reception and Social Change (Routledge 2017).”