Taiwan in the 1960s was a nation marked by a repressive political climate, a heavily restricted flow of information, and a mainstream film culture that was dominated by Taiyupian (Taiwanese-lan- guage cinema) and what came to be known as “healthy realist” melodramas. Nevertheless, young Taiwanese intellectuals, who had become aware of the Western avant-garde movement through writings and translations, were eager to align themselves with the innovations of their counterparts in the West. They formed for themselves a concept of what the “avant-garde” could look like and carried out their own experiments with film and theater.
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