Due to its honest portrayal of life, New Taiwanese Cinema films examined many of the important issues facing Taiwanese society at the time, such as urbanization, the struggle against poverty, and conflicts with political authority. For instance, Hou Hsiao-hsien's "A City of Sadness" portrays the tensions and the conflicts between the local Taiwanese and the newly arrived Chinese Nationalist government after the end of the Japanese occupation. Chen Kunhou's 1983 film "Growing Up" provides a nuanced perspective on the experience of a very young boy, from an ordinary family, getting into progressively more trouble. Edward Yang's "Taipei Story" (1985) and "A Confucian Confusion" (1994) talk about the confusion of traditional values and modern materialism among young urbanites in the 1980s and 1990s. His nearly four-hour film "A Brighter Summer Day" (1991), considered by many to be his masterpiece and the defining work of the New Taiwanese Cinema, deals with Taiwan's struggle in the 1960s to find its identity after the Kuomintang took control of Taiwan and brought numerous Chinese immigrants to the new republic, who expected to return to China once the Communists had been defeated. The New Taiwanese Cinema films therefore create a fascinating chronicle of Taiwan's socio-economic and political transformation in modern times.