In 1982 a small group of Taiwanese filmmakers reinvented Asian cinema, among them, Hou Hsiao-Hsien, Edward Yang. Travelling from Europe to Latin America to Asia, Flowers of Taipei sets out to assess the global influence of Taiwan New Cinema.
Taiwan – tropical Pacific island devoid of tourists; former plastic manufacturing powerhouse turned technology hub in just 20 years; not a fully-fledged country for the United Nations, yet the sole Chinese territory with a vibrant democracy.
In 1982, under severe martial law, amid the stormy climate of pre-democratization, a small group of Taiwanese filmmakers set out on a daring journey to discover their own identity, and in the process to reinvent Asian cinema. Unintentionally, these gutsy youngsters managed to offset the cheap-labor image of ‘Made in Taiwan’ by bestowing a cultural identity on their beloved homeland. Taiwan New Cinema not only inaugurated modern cinema in the Chinese world, it also secured itself a firm place on the world map of contemporary filmmaking. Continue reading