◎Indigenous Arts

Taiwan is enriched by the cultures of 12 indigenous peoples─the Amis 阿美族, Atayal 泰雅族, Bunun 布農族, Kavalan 噶瑪蘭族, Paiwan 排灣族, Pinuyumayan 卑南族, Rukai 魯凱族, Saisiyat 賽夏族, Thao 邵族, Truku 太魯閣族, Tsou 鄒族, and Yami 雅美族. Arts such as woodcarving, weaving, basketry, as well as ceremonial dances and songs, have long played a central role in indigenous life.

‧Woodcarving
　The Paiwan, Rukai, Pinuyumayan, and Yami peoples of southern Taiwan are especially known for their relief and three-dimensional woodcarvings

‧Weaving
Waving is especially well-developed among the Atayal. Using simple back-strap looms, Atayal women create rectilinear patterns of squares, diamonds, and triangles, using mostly red, blue, black, and white. Some designs also incorporate strings of thin shell beads or rows of small bronze bells.

◎Cinema
‧New Wave Cinema
New Wave Cinema, which has been compared stylistically to the Italian neo-realism. New Wave directors, such as Hou Hsiao-hsien 侯孝賢, Edward Yang, and Wang Tong 王童.

They wanted to give a genuine local flavor to their films. They also critically reviewed some of the central issues facing Taiwan society, Just like The Sandwich Man 兒子的大玩偶 (1983),Wang Tong's The Strawman 稻草人 (1987) ,ill of No Return 無言的山丘 (1992) ,he Red Persimmon 紅柿子 (1996), Hou Hsiao-hsien's The City of Sadness 悲情城巿,A Time to Live and a Time to Die 童年往事 (1985),Good Women 好男好女,aipei Story 青梅竹馬 (1985), The Terrorizers 恐怖份子 (1986), and Confucian Confusion 獨立時代 (1994),

‧Second New Wave
During the lean years of the late 1980s and early 1990s, a number of talented new filmmakers began to create a "Second New Wave" for Taiwan cinema.

The Second New Wave is Tsai Ming-liang 蔡明亮, whose films Rebels of the Neon God 青少年哪吒 (1992) and the 1994 Venice Film Festival award winner Vive l'Amour 愛情萬歲.

Stan Lai 賴聲川 whose films the Peach Blossom Land 暗戀桃花源 (1992), which won prizes at the Tokyo and Berlin film festivals, is an adaptation of one of Lai's stage productions.

The films of Ang Lee 李安whose films Pushing Hands 推手 (1991), The Wedding Banquet 囍宴 (1993), and Eat Drink Man Woman 飲食男女 (1994)
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In 1994, Wu Nien-chen 吳念真, who produced A Borrowed Life 多桑, and Buddha Bless America 太平天國 (1996), which was shown at the Venice Film Festival. Chen Yu-hsun 陳玉勳 was awarded the Blue Leopard Prize at Switzerland's Locarno Film Festival for Tropical Fish 熱帶魚 (1995). Hsu Hsiao-ming 徐小明, Steve Wang 王獻箎, and Lin Ceng-sheng 林正盛 are also among Taiwan's new directors whose works have been shown at prestigious film festivals around the world.

Between 2000 and 2004,films include Double Vision 雙瞳, Blue Gate Crossing 藍色大門, The Best of Times 美麗時光, Comes the Black Dog 黑狗來了, Love Me If You Can 飛躍情海, Taipei 21 臺北二一, Formula 17 十七歲的天空, May Love 五月之戀, and 20-30-40.

◎Cinema
‧New Wave Cinema
New Wave Cinema, which has been compared stylistically to the Italian neo-realism. New Wave directors, such as Hou Hsiao-hsien 侯孝賢, Edward Yang, and Wang Tong 王童.

They wanted to give a genuine local flavor to their films. They also critically reviewed some of the central issues facing Taiwan society, Just like The Sandwich Man 兒子的大玩偶 (1983),Wang Tong's The Strawman 稻草人 (1987) ,ill of No Return 無言的山丘 (1992) ,he Red Persimmon 紅柿子 (1996), Hou Hsiao-hsien's The City of Sadness 悲情城巿,A Time to Live and a Time to Die 童年往事 (1985),Good Women 好男好女,aipei Story 青梅竹馬 (1985), The Terrorizers 恐怖份子 (1986), and Confucian Confusion 獨立時代 (1994),

‧Second New Wave
During the lean years of the late 1980s and early 1990s, a number of talented new filmmakers began to create a "Second New Wave" for Taiwan cinema.

They also tended to reject the nostalgic, historical approach of older filmmakers, being drawn instead to explore the pain and absurdities of contemporary life.

One of the major figures of the Second New Wave is Tsai Ming-liang 蔡明亮, whose films Rebels of the Neon God 青少年哪吒 (1992) and the 1994 Venice Film Festival award winner Vive l'Amour 愛情萬歲

Second New Wave director Stan Lai 賴聲川. The Peach Blossom Land 暗戀桃花源 (1992), which won prizes at the Tokyo and Berlin film festivals, is an adaptation of one of Lai's stage productions. His 1994 film, The Red Lotus Society 飛俠阿達, juxtaposes a fantastic story about a young man who is determined to fly like the martial arts masters of ancient times against the realistic setting of modern-day Taipei.

The films of Ang Lee 李安, another Second New Wave director, take a more realistic approach to contemporary life. Pushing Hands 推手 (1991), The Wedding Banquet 囍宴 (1993), and Eat Drink Man Woman 飲食男女 (1994) look at the generational and cultural conflicts confronting modern families.

In 1994, Wu Nien-chen 吳念真, who produced A Borrowed Life 多桑, which was awarded best film at the Turin International Film Festival, and Buddha Bless America 太平天國 (1996), which was shown at the Venice Film Festival. Chen Yu-hsun 陳玉勳 was awarded the Blue Leopard Prize at Switzerland's Locarno Film Festival for Tropical Fish 熱帶魚 (1995). Hsu Hsiao-ming 徐小明, Steve Wang 王獻箎, and Lin Ceng-sheng 林正盛 are also among Taiwan's new directors whose works have been shown at prestigious film festivals around the world.

Between 2000 and 2004, Taiwan's film industry underwent a change. These films include Double Vision 雙瞳, Blue Gate Crossing 藍色大門, The Best of Times 美麗時光, Comes the Black Dog 黑狗來了, Love Me If You Can 飛躍情海, Taipei 21 臺北二一, Formula 17 十七歲的天空, May Love 五月之戀, and 20-30-40.