Since the 1980s, new trends have been making their marks on contemporary moving image arts in Taiwan. In acknowledging this paradigm shift, many artists have begun to employ cross-disciplinary approaches in their practices. Kao Chung Li, whose works frequently obscure traditional distinctions between sculpture, photography, painting and experimental films, is one of the most notable artists from this scene. His writings and works on moving images continually encapsulate this ever-changing complexity of expression. The aim of this paper is to analyze his slideshow-based The Taste of Human Flesh (2010-12). Tactfully combining the techniques of collage, assemblage and photomontage, this work deals with the delicate relations between mechanically produced images and image-producing machines. It also addresses Taiwan's historical and political development through texts, pictures, sounds and narratives. In short, The Taste of Human Flesh should be regarded as a hybrid of slideshow, experimental film, visual art, and documentary: a new art form that hails from cinema.