自電影創始以降以迄當代，生態一詞所表徵的居所與生活區域，賦形為自然、風景與土地，一直以來它們即是刻劃與體現人性、情懷與思想的重要圖景。歷經原爆與集中營的戰後歐美現代電影，一反常態，以突變難堪的環境、反常敗壞的棲息之所，結合預言性（科幻性）、社會性（寫實性）及政治性（辯證性）的生態性影像創置，激烈省思人本主義的影像意義。
1960年代以來的臺灣電影亦曾有零星作品流露出此種反生態性的影像精神，1989年黃明川獨立電影的出現，不僅重新繼承此一影像遺產，更將之推向至一種反人類本位論（包含反漢化主義等）導致主體失落的另類生態性影像創置。此種尤其凸顯地方的廢島化與神偶廢墟的批判路線，爾後啟迪了青年導演陳芯宜將家之廢墟與魅景的政治美學視域開展兼具抵拒與反思、倫理與詩學的創作蹊徑。總體而言，由黃明川至陳芯宜的作品，一方面擴展了臺灣電影現代性過往鮮少被持續開發與深化的社會意識，另一方面則體現出新一代臺灣電影另種迥異於青春熱血、庶民在地、奇觀懷舊的當代影像意志與格局。

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.