摘要
In addition to describing the social reality of Taiwan’s political and economic chaos, Taiwan’s films after the lifting of martial law also try to explore the ultimate significance of human existence, showing the color of ontology. Under the influence of postmodern culture, Taiwan films adopt non-linear narrative methods such as fragmented, time countercurrent or psychological time, emphasizing people’s instant experience and expressing modern people’s anxiety and social absurdity. In addition, the film highlights the gridding and deformed space, so as to highlight the interpersonal alienation and survival dilemma of modern cities. Taiwan Residents films also reflect the impermanence of fate, the nothingness of existence, and the absurdity of society through the death of characters. It is also coupled with the existential view of “living to death” and “others are hell”.
