A movement which took off in the 1970s, and attempted to give voice to the marginalised people and languages of Taiwan, all those aspects of the island's culture that had been shoved aside by the KMT's sinocentric and anticommunist concerns. Part of a wider nativist (bentu) cultural movement.
Such concerns were deemed rural and unsuitable for representation on a wide public platform. However in the 1970s several writers such as Huang Chunming (Huang Ch’unming), Wang Zhenhe (Wang Chen-ho), Yang Qingchu, and Chen Yingzhen (Ch’en Ying-chen) focused precisely on stories of provincial, rural, and “inconsequential” Taiwan people, and the way life had changed in Taiwan over the post-war decades.
An influence on the Taiwanese New Cinema's related concern to be rooted within in the authentic experience of ordinary Taiwanese and to represent a form of Taiwanese cultural identity, which young audiences would never have seen on screen before, can therefore be discerned. One of the founding films of the New Cinema, The Sandwich Man, is a triptych based on short stories by Huang Chunming.
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