Daoism and Diaspora in Post-millennial Taiwanese Martial Arts Films.

This article examines the shift in narrative focus in Taiwanese martial arts films from Confucian values to Daoist principles in the new millennium. It analyzes the films "Crouching Tiger, Hidden Dragon" and "The Assassin" to explore how they provide a space for second-generation waishengren filmmakers in Taiwan to search for their diasporic identity. The article also discusses the sociopolitical context of Taiwan and its relation to the Sinophone, as well as the decline of martial arts films in Taiwan due to censorship and changing international relationships. It highlights the films "Wohu Canglong" and "Cike Nie Yinniang" as attempts to revive the genre and explore the complexities of diasporic narratives and Taiwanese cultural belonging. The text also delves into the portrayal of Confucianism, Chan Buddhism, and Daoism in Taiwanese martial arts films, emphasizing the tension between social expectations and individual desires. It concludes by discussing the influence of Daoism on filmmakers Ang Lee and Hou Hsiao-hsien and how their films reflect their own diasporic identities. [Extracted from the article]