The Interaction of Narrative and Visual Style with Time, History, Memory, and Ethnic Identity in A City of Sadness (1989)

A City of Sadness explores the intersections of time, history, memory, and ethnic identity through its distinctive narrative and visual techniques. As a cornerstone of Taiwan region’s New Wave cinema, the film utilizes a non-linear narrative structure and subtle visual cues to critique official historical accounts, particularly those surrounding the February 28th Incident and its aftermath. Through fragmented time sequences and emotionally resonant depictions of personal and familial experiences, the film challenges conventional historiography, emphasizing individual memory as a counterpoint to institutional narratives. Drawing on the theories of Hayden White, Benedict Anderson, and Fredric Jameson, this study situates Hou Hsiao-hsien’s cinematic techniques within a broader framework of historical interpretation and identity formation. The paper highlights the film’s dual role as both a cultural medium for historical reflection and a commentary on the contested nature of Taiwan residents’ ethnic identity, shaped by colonial legacies and political transformations.