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This book engages with Taiwanese history by offering a reading of Hou Hsiaohsiens A City of Sadness (1989), making reference to the films historical dimensions, cultural representations and gender issues in the period 1945 to 1949. It examines Taiwans indigenous culture and the impact of Japanese and Chinese cultural practices in A City of Sadness through the postcolonial theories of Perry Anderson, Homi Bhabha, and Chris Berry. I draw on their theories of cultural hegemony and my empiricism to investigate Hous representation of the political situation in Taiwan. Finally, the book evaluates gender issues in A City of Sadness, with reference to Julia Kristevas notion of feminine time and the debate between Emilie Yeh and Mizou concerning whether women can really enter history. In evaluating A City of Sadness I argue that Hou Hsiaohsiens use of a familys microhistory to parallel the national macrohistory of the February 28 Incident opens an important historical window through which the audience may reencounter and reflect on Taiwans past, and think positively about its future.
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