The film critic Huang Chien-yeh answers, "Any film with a high degree of creativity--that's not imitative--and reflects its cultural background while expressing an individual style can be called an art film. However, art films and commercial films aren't necessarily opposites. A really good film can succeed as both."

"There are only good movies and bad ones," maintains director Yang Teh-ch'ang. "There's no need to differentiate between art films and commercial ones."

An art film theater, therefore, doesn't necessarily show only a certain type of film; its most important function is to offer moviegoers greater choice.

The foreign films shown on Taiwan have for many years been nearly all commercial movies from Hollywood. Although the Film Library of the ROC Film Development Foundation has brought in some high-quality films from other areas for its members, its audience is extremely limited. "It's been the public's loss," says Hsu Li-kung, the library's director.

In addition, movie theaters on Taiwan tend to show each film at the same time; if a film doesn't sell well its first week, it's not likely to be seen again. Some creative, artistically valuable films have disappeared without a trace because they failed to cater to the public's conventional tastes. A prime example is Hou Hsiao-hsien's The Time to Live and the Time to Die, which earned favorable attention at film festivals overseas but did poorly at the box office at home.

"The industry likes to play it safe," says the film critic Chiao Hsiung-p'ing pointing out that the least "risky" movies are comedies and action pictures, full of gags, special effects, and movement. "Films are becoming more and more formulaic as the public's taste narrows."

The opening of Art House was thus a hopeful event for those concerned about film. And the public's response has been highly encouraging.

"The time was ripe," explains Lin Teng-fei, general manager of the Central Motion Picture Corporation, which has played a major role in the theater's creation. "You need good films, good facilities, and a good location to succeed, and the conditions haven't been favorable until now."

Last year, quota restrictions on foreign films were lifted, and the selection became more flexible. Importers no longer dismissed art films from consideration as they had in the past. In addition, the establishment of the film library and the widespread availability of videotapes have made viewers more receptive to different types of films. The early morning lines to buy tickets to the Golden Horse International Film Festival the past three years indicated that the demand for quality foreign films was there.

Taking up the challenge, the Central Motion Picture Corporation last year decided to convert one of the halls of its most popular theater, the Majestic, into the Art House Film Theater. "A lot of people told me not to," Lin Teng-fei said, "but I thought the time was right and we wouldn't necessarily lose money." This settled the question of location.

What's more, a thorough remodeling, from screen, lighting, and carpeting down to the design of the ticket office, gave the place a new look.

But no matter how comfortable and attractive, a theater can't make it without good films.

"B.I.G." Film Organization's Liang Liang is in charge of selection. "Art films are high in standards but they shouldn't be unintelligible and scare off the public," he says. "I try to pick those with a broad appeal."

Liang Liang hopes to bring in non-Hollywood films so viewers can widen their horizons. "But to get things off on the right foot, I've started out with films that have already gotten good publicity by word of mouth. " Mona Lisa, his first choice, was a big success. Lined up next are A Room with a View from Great Britain, My Life as a Dog from Sweden, Camila from Argentina, Sugar Baby from West Germany, Conseil de Famille from France, and Dimsum, a movie directed by a Chinese American.

All the films are shown uncut, with subtitles, to preserve their original effect.

Film critics are generally optimistic about the theater's success but hope to see even more boldness in the selection of films. Many film critics suggest series focusing on a director, a star, or other themes to stimulate viewers' tastes.

"We hope others in the film industry will follow suit," Chiao Hsiung-p'ing says. "The more the merrier."

In fact, foreign films with high artistic value, such as The Purple Rose of Cairo and Hannah and Her Sisters, are now being picked up by general theaters and doing well commercially.

May the fanfare for the ROC's first art theater ring on!

[Picture Caption]

Will the establishment of the Art House Film Theater enable Chinese films to "rush for ward"?

Hou Hsiao-hsien's The Time to Live and the Time to Die has been shown in art film theaters in many countries.

In Taipei's movie district, the action flicks are always the biggest draws.

A scene from My Life as a Dog, soon to be shown at the theater. (courtesy of "B.I.G." Film Organization)

Mona Lisa got the Art House Film Theater off to a good start.

(Left) Lin Teng-fei earned much applause for converting Central Motion Picture Co.'s most lucrative theater into the Art House Film Theater.

(Right) Intent expressions of two patrons of the theater.

To build publicity, the Art House Film Theater has conducted several promotional activities, such as this essay contest.

Hou Hsiao-hsien's The Time to Live and the Time to Die has been shown in art film theaters in many countries.

In Taipei's movie district, the action flicks are always the biggest draws.

A scene from My Life as a Dog, soon to be shown at the theater. （courtesy of "B.I.G." Film Organization）

Mona Lisa got the Art House Film Theater off to a good start.

（Left） Lin Teng-fei earned much applause for converting Central Motion Picture Co.'s most lucrative theater into the Art House Film Theater.

（Right） Intent expressions of two patrons of the theater.

To build publicity, the Art House Film Theater has conducted several promotional activities, such as this essay contest.