The emphasis of this research is on the social, economic, and cultural factors generating the New Taiwan Cinema between 1982 to 1986. The study consists of four chapters. Chapter I introduces the background and parameters of the topic. Chapter II discusses the factors which nurtured the rise of New Taiwan Cinema. It also provides historical background information on Taiwanese films. Chapter III discusses the definition and characteristics of New Taiwan Cinema and its major filmmakers and films. Chapter IV focuses on the issue of the end of New Taiwan Cinema. This chapter also covers the general situation of the Taiwanese film industry after 1986.

In 2008, the Taiwanese film ¡§Cape No. 7¡¨ set the record of 500,000,000 box offices. Then this year also has the hot movie ¡§Wanhua¡¨. People start to expect the native movie industry economy is improving gradually. However, according to the overall box office, Hollywood still holds 80% market. Local film industry who want to get back lost audiences and change their long-standing habits of going to the cinema is to see Hollywood films, should be more understanding of the consumer behavior of the movie going and the underlying factors. This study is from the audience perspective and use of the consumer behavior theory to compare on consumer decision-making for Taiwanese and Hollywood Films. Then find out how product attributes, motivation and cultural factors in the film will influence the attitude toward Taiwanese and Hollywood films and the willingness to see these movies. Finally we can understand why most audiences are prefer Hollywood than Taiwanese films and get the meaning of movie marketing. According to the SEM analysis in this study, leisure motivation and word of mouth factor influence the attitude of Taiwanese films most. And effect factor of the attitude of Hollywood films are leisure motivation and degree of recognition of cultural values in movies.

關於台灣電影，日本可說是時常被使用的元素。除了在2014年一上映就賣座的《KANO》之外，在2010年上映，描繪日本女性與台灣男性戀愛的《愛你一萬年》、以及在2012年上映，將西門町以日本原宿的形象呈現的《西門町》，三部電影都展現日本與台灣的密切關係。雖然這些電影裡都有描繪日本風的元素，但都可說是台灣人基於文化接近性所再建構的，一種獨特的日本形象。 因此，本研究先概觀台灣在1990年代之後接受日本流行文化的影響，並就台灣人如何將日本流行文化再建構進行分析。譬如，《愛你一萬年》就是參考1992年在台灣所播放的日本偶像劇《東京愛情故事》，來描繪日本女性的形象；而受到1990年代後期所興起的「哈日」現象影響，電影《西門町》所描繪的西門町場景中，具有仿造日本「原宿」的都市構造，「卡哇伊」的服裝風格也開始出現。此外，雖然《KANO》與日本流行文化沒有直接的因果關係，但是日本流行文化與「台灣意識」似乎催生了對劇中「親日」的描寫。 根據上述想法，本研究依據焦點團體訪談(Focus Group Interview)的方式，讓日本受測者觀看上述三部電影，就電影裡面所描繪的日本形象與自身所想像的日本形象兩者之間的差異進行討論，分析他們的討論內容。 結果，對於《愛你一萬年》中所描繪的日本女性形象，日本受測者雖然不認為劇中日本女主角符合典型日本女性形象，但普遍都能接受本作品所描繪的日本女性形象。對於《西門町》中所描繪的西門町，如果就西門町整體氛圍的話，日本年輕世代的受測者能看出西門町與原宿的關聯性，然而如果注意到劇中西門町細部的話，日本受測者都不能看出這樣的關聯性。此外，對本作品所描繪的「卡哇伊」文化，日本人會覺得有些過時。對於《KANO》中所描繪的會說日語的台灣人，日本受測者則難以對三者（漢民族、原住民、日本人）進行區分。另外，根據語言、歷史與政治的角度，以及不同的時空背景來觀看本作品，對於嘉義農林棒球隊的球員是代表哪個民族的球隊的問題，受測者則會因為語言、歷史與政治的不同而有所差異。 / It can be said that Japanese elements are often used in Taiwanese films. Aside from KANO which enjoyed great success in 2014, Love You 10,000 Years from 2010 describes a love story between a Japanese woman and a Taiwanese man, while Westgate Tango from 2012 describes Ximending (西門町) in the style of Harajuku (原宿). Like this, these three Taiwanese films have a close connection with Japanese elements. However these elements have been affected by “Cultral Proximity (文化接近性)”and been reconstructed as fitting within Taiwan. That is, they can be considered localized Japanese elements. This research analyzes first how Taiwan received Japanese popular culture since around 1990 and subsequently localized it. For example, Love You 10,000 Years uses the Japanese female image from Japanese popular drama Tokyo Love Story , broadcast in Taiwan in 1992. The atomosphere of Ximending (西門町) Westgate Tango describes has an urban structure like that of Harajuku (原宿), and represents“Kawaii (cute、卡哇伊、カワイイ)”fashion that the “Hari (Japanification、哈日)” phenomenon of the late 1990’s brought in. KANO does not have a direct connection with Japanese popular culture, though it seems that Japanese popular culture and “Taiwan Identity” gave birth to the “Japanophile” attitude in the film. This research adopts the Focus Group Interview approach, first allowing Japanese participants to watch each above-mentioned Taiwanese film. Afterwards the researcher prompted a discussion of each film and analyzed the contents of them. As for the Japanese female image Love You 10,000 Years describes, Japanese participants did not recognize it as a stereotypical Japanese female image, however received it as one possible image among Japanese women. As for the atomosphere of Ximending (西門町) Westgate Tango describes, if participants considered the entire appearance of Ximending, participants whose ages ranged between twenty and thirty could associate the atomosphere of Ximending with that of Harajuku. On the other hand if Japanese participants considered individual scenes of Ximending, they could not do that. As for “Kawaii (卡哇伊、カワイイ)”fashion that this film describes, Japanese participants felt that it is out-of-date compared to Japanese fashion of the same period. Lastly, as for the Japanese-speaking Taiwanese speaking described in KANO , it was very difficult for Japanese participants to distinguish Taiwanese from Japanese. Therefore when considering the primarily Japanese language spoken by the“Chiayi Agricultural School baseball team (嘉義農林棒球隊)”, participants readily identified the team as Japanese. However, when considering the historical and political setting of film, it was found that participants had varied opinions about the ethnicity of the team.