For some people modernism is a tool for legitimizing colonial activities. Nevertheless it is generally seemed that every single nation has its own unique modernisation experience. Every single country incorporates its own unique qualifications into the process of modernisation while accepting some Western values. Taiwan, which has been under hegemony of both Western and Asian countries, determined its unique modernisation too. The clearest reflection of this unique modernisation can be seen in New Taiwan Cinema. Young Taiwanese directors, who started showing up after 1980’s, focused on the country’s tempestuous and gloomy political history, and they discussed the subject of problems of modernisation through using modern narrative techniques. The most distinguished one among these directors is Hou Hsiao-Hsien, who gained his fame after directing A City of Sadness. In that film the director mentioned 28th February event, which is a turning point in Taiwan political history. A City of Sadness shows us an episode of Taiwan political history via ascribing meanings to its characters. The film summarizes the bloodiest period of Taiwan without reflecting violent scenes, but always staying on the brink of them.