This essay aims to apply two aesthetic principles posited by Andre Bazin, “faith in the image” and “faith in the reality,” in order to ponder how Edward Yang constructs a specifically cinematic paradigm of representing the city. The “faith in the image” principle will be analyzed in depth from the perspective of media studies in order to show how Yan makes use of this aesthetic strategy to approach the ideal of “faith in reality.” On the one hand, Edward Yang presents a possibility of achieving visual abstraction by making use of ordinary details of the city; on the other hand, his ambition of displaying a complete sketch of people living in Taipei with truthful observations also offers the film such a realistic flavor that it looks like something naturally presented without any artificial arrangements. The cinematic world sways between realism and expressive abstraction, and thus achieves the balance in a disorderly city. The discourse of this essay will be emphasized on how Edward Yang makes use of a myriad of media, including photography, closed-circuit television, video/computer games and reflections on windows to expand the audience'svision and create a cinematic imagery of Taipei without separating it from the everyday track. Although the mundane quality displayed by this city might seem ordinary, it is actually placed within a specific socio-historical moment of Taiwan and therefore exists as a visual record and cinematic monument that belongs uniquely to the turn of the twenty-first century.