As the notable work marking the start of New Taiwan Cinema movement, In Our Time (Guang yin de gu shi) is a 1982 Taiwanese anthology comprising four short vignettes, woven into an understated piece to tell a journey of coming-of-age and youth in Taiwan during its rapid modernisation period.

The film comprises individual parts directed by four different filmmakers Edward Yang, Chang Yi, Ko I-Chen, and Tao Te-Chen. With its protagonists encompassing children to young adults, the overarching theme is everyday life in Taiwan, reflecting its societal and cultural changes during the 50s to 80s. It was an experimental shift from the wuxia and melodrama genres that had been prevalent in Taiwanese cinema.

Some Dominant Genres of Pre-New Taiwan Cinema

Chiung Yao Melodramas: A highly popular genre based on the romantic novels of author Chiung Yao. These films were known for their sentimental plots, often featuring star-crossed lovers, intricate emotional entanglements, and picturesque settings. They were hugely successful domestically and in other Chinese-speaking regions.

“Healthy Realism” Films introduced by Central Motion Picture Corporation (CMPC) in the 1960s: These films, despite their realistic veneer, offered somewhat idealised or romanticised portrayals of rural existence or urban challenges. Their purpose was to champion positive values during a period of rapid modernisation. Notable examples include Li Xing’s Good Neighbors (1961) and Bai Ke’s Love in Longshan Temple (1962), which, while addressing societal dynamics, typically aimed for harmonious resolutions.

Kung Fu Films and Action Cinema: Inspired by the success of Hong Kong cinema, Taiwan also produced martial arts and action pieces that prioritised spectacle and excitement over nuanced character development or social commentary.

How In Our Time Stood Out

In Our Time and subsequent films of the New Taiwan Cinema Movement stand out from earlier Taiwanese cinematic works thanks to their more grounded, realistic, and often understated approach to storytelling, focusing on the mundanity of life and the subtle human struggles within Taiwanese society. These are seen throughout the title as:

The neglected Hsiao-Mao in Segment 1 navigates life with the toy dinosaur–his best friend, endless inspiration as well as his purpose for an outdoor search.

Teenage girl Hsiao-fen in Segment 2 develops a crush on her tenant and discovers new, complex feelings, only to have her internal reveries grounded later.

Weirdo student Tu Shih-lien in Segment 3 struggles to find an outlet for his inexhaustible energy of youth, to socialise and to express his inner poetic thoughts.

A newly married young couple in Segment 4 navigates the mishaps of being locked out of their own home and workplace, experiencing the frustrations and absurdities of city living and adulthood.

My Impressions

To me, what stands out is the music use in Segment 1, especially the playtime scene where groups of pupils rush out of class to join their peers on the playground. It all starts with 3 rounds of nostalgic piano notes, matching the layered appearance of 3 groups of pupils in the background, then midground and foreground.

The emergence of flute sound marks the entrance of Hsiao-Mao in a timid manner, while piano notes continues in the background, coordinating with the pupil movements on the playground. The childhood-reminiscent sound from the violin gets blended notably into the mix.

Then, the music gets more intense and quick-paced as a conflict enters the scene, and only ends when the nerd gets an unexpected attack, wrapping up a chaotic yet nostalgic depiction of childhood. 

At his uncle’s house, when inspiration hits Hsiao-Mao, the instrumental classic Sleep Walk by Santo & Johnny with its twangy guitar sound is blended perfectly to boost the creativity mood of the scene, contributing to its “dreamy nostalgia”.

Ubiquitous ambient sounds (leaves rustling, wind blowing or insects buzzing) were also used during the forest and naptime scenes to create a realistic vignette. The vocal track during the two kids’ night search contributes an adventurous mood to the adventure.

The colour palette with neutral tones, along with naturally lit scenes and the country’s picturesque landscape, create a lifelike capture of typical Taiwanese often seen in their presentable outfits. Dots of red or brighter colours can still be spotted here and there, forming a more vivid portrayal.

Notably, three colours on the Taiwanese flag were quietly displayed through the children’s outfits in Segment 1 as well as the students’ and two flags in the competition in Segment 3. This colour choice in these specific shots leaves the subtle impression that it is the younger generations that will be the building blocks for the future Taiwanese identity.

Closing

In summary, In Our Time (1982) speaks to me as a nuanced lens of the grow-up journey of a subset of Taiwanese back in the 50s to 80s, adapting to societal and cultural changes at the time. Music, ranging from classical notes to contemporary pop sounds, is integrated beautifully into the whole piece, especially in Segment 1, matching on-screen movements with musical shifts, to deliver an exceptional audiovisual experience. 

[Watch the film with English subtitles here.]