From the genesis of cinema to the present, the habitats and living spaces that are symbolized by the term “ecology” and shaped through nature, scenery, and landscape have always served as important vistas for depicting and expressing human feelings and thoughts. However, contemporary European and American cinema after the era of the atomic bomb explosions and concentration camps completely reversed what had been the status quo and began using mutated, unbearable environments and abnormal, ruined habitats combined with the creation of prophetic (science-fiction), societal (realistic), and political (dialectic) eco-images in order to reflect intensively on the meaning of humanistic imagery. A few isolated Taiwanese cinematic works after the 1960s have also revealed the spirit of this kind of anti-ecological imagery. Ming-Chuan Huang's independent films, which emerged in 1989, not only carried on this imagery heritage but also pushed it further to the creation of a kind of alternate eco-imagery in which the loss of subjectivity results from an antihuman standard (including anti-Sinification and so on). This creative approach, in which local islands in ruins and destroyed idols were prominently featured, later inspired the young director Singing Chen to use the politicized aesthetic vision of wasted homes and ruinscapes to develop a creative approach that is expressive of resistance, introspection, ethics, and poetics all at once. Generally speaking, artists from Ming-Chuan Huang to Singing Chen have, on the one hand, expanded upon social ideologies that had rarely been continuously explored and deepened in modern Taiwan cinema and, on the other hand, manifested a contemporary visionary impulse and style within the new generation of Taiwanese cinema that is completely at odds with the usual expressions of youthful passion, indigenous folklore, and prodigious nostalgia.