The transition of Taiwan New Cinema

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).”

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