Cinematographer Lai Cheng-ying Passes Away; Ministry of Culture to Request Presidential Citation
Legendary Taiwanese cinematographer and director Lai Cheng-ying has passed away. The Ministry of Culture will request a presidential citation to honor his lifelong contributions to the Taiwanese film industry, including introducing color film technology and mentoring renowned directors.
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- 📰 Published: April 19, 2026 at 19:34
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Lai Cheng-ying received the Lifetime Achievement Award at the Golden Horse Awards in 2022. At the time, Li Yuan (Minister of Culture) pointed out that this was a belated recognition. He noted that in his youth, Lai was a highly sought-after cinematographer by directors, winning the Golden Horse Award for Best Cinematography three times before stepping up to become a director. Film directors Hou Hsiao-hsien and Chen Kun-hou once served as his assistant director, screenwriter, and cinematographer, respectively. Hou Hsiao-hsien's first screenplay, "The Peach Blossom Girl and the Duke of Zhou," was also directed by Lai Cheng-ying.
Li Yuan mentioned that his own first film screenplay, "The War of Boy and Girl," was directed by Lai Cheng-ying. Recalling working with Lai in his youth, "Lai-san," who was already a prominent director at the time, would often climb up the Military Warship Rock in Shipai to Yangming Medical College to discuss the script with him, a first-time screenwriter, and would even bring him a bottle of wine as a gift. "Lai Cheng-ying was very humble, with absolutely no airs of a big director," Li said, considering him a benefactor when he first entered the film industry.
Born in Dali, Taichung in 1931, Lai Cheng-ying entered the Agricultural Education Film Corporation (predecessor of CMPC) as a trainee in 1950. He first participated in film shooting in 1952 as an assistant camera for "Happy Ending." The 1955 film "Mountain Girl" marked his first time independently taking charge of the camera, launching his career as a cinematographer. In 1958, he went to Japan to study color cinematography and processing, bringing the latest technology back to Taiwan.
After returning to Taiwan in 1959, Lai consecutively won the Best Black-and-White Cinematography Award from the Government Information Office for two consecutive years for the films "Revenge of the Devil" and "Tragedy of Voice and Appearance." He then began a long-term collaboration with director Lee Hsing. Lai's cinematic career includes over 70 cinematography works and about 18 directed films. He participated in the production of classic Taiwanese films such as "Beautiful Duckling," "The Silent Wife," "Stardust," and "Execution in Autumn," winning accolades at the Asian Film Festival and three Golden Horse Awards for Best Cinematography.
Lai Cheng-ying ventured into directing in 1975 with "The Peach Blossom Girl and the Duke of Zhou" and actively mentored young talents, inviting Hou Hsiao-hsien to be his assistant director and screenwriter. He subsequently directed films like "Autumn Lotus," "The Misty Beauty," and Li Yuan's screenwriting debut, "The War of Boy and Girl."
The Ministry of Culture stated in a press release today that Lai Cheng-ying dedicated his life to Taiwanese cinema, introduced color filming technology, and devoted himself to film shooting and directing for many years. Throughout his journey as a cinematographer and director, he generously mentored his successors. He donated a large amount of precious film materials to the Taiwan Film and Audiovisual Institute and participated in oral history audiovisual recording project interviews four times, achieving and accumulating a wealth of classic film cultural assets. His profound influence on the development of Taiwanese cinema will endure as an everlasting paradigm.
Li Yuan mentioned that his own first film screenplay, "The War of Boy and Girl," was directed by Lai Cheng-ying. Recalling working with Lai in his youth, "Lai-san," who was already a prominent director at the time, would often climb up the Military Warship Rock in Shipai to Yangming Medical College to discuss the script with him, a first-time screenwriter, and would even bring him a bottle of wine as a gift. "Lai Cheng-ying was very humble, with absolutely no airs of a big director," Li said, considering him a benefactor when he first entered the film industry.
Born in Dali, Taichung in 1931, Lai Cheng-ying entered the Agricultural Education Film Corporation (predecessor of CMPC) as a trainee in 1950. He first participated in film shooting in 1952 as an assistant camera for "Happy Ending." The 1955 film "Mountain Girl" marked his first time independently taking charge of the camera, launching his career as a cinematographer. In 1958, he went to Japan to study color cinematography and processing, bringing the latest technology back to Taiwan.
After returning to Taiwan in 1959, Lai consecutively won the Best Black-and-White Cinematography Award from the Government Information Office for two consecutive years for the films "Revenge of the Devil" and "Tragedy of Voice and Appearance." He then began a long-term collaboration with director Lee Hsing. Lai's cinematic career includes over 70 cinematography works and about 18 directed films. He participated in the production of classic Taiwanese films such as "Beautiful Duckling," "The Silent Wife," "Stardust," and "Execution in Autumn," winning accolades at the Asian Film Festival and three Golden Horse Awards for Best Cinematography.
Lai Cheng-ying ventured into directing in 1975 with "The Peach Blossom Girl and the Duke of Zhou" and actively mentored young talents, inviting Hou Hsiao-hsien to be his assistant director and screenwriter. He subsequently directed films like "Autumn Lotus," "The Misty Beauty," and Li Yuan's screenwriting debut, "The War of Boy and Girl."
The Ministry of Culture stated in a press release today that Lai Cheng-ying dedicated his life to Taiwanese cinema, introduced color filming technology, and devoted himself to film shooting and directing for many years. Throughout his journey as a cinematographer and director, he generously mentored his successors. He donated a large amount of precious film materials to the Taiwan Film and Audiovisual Institute and participated in oral history audiovisual recording project interviews four times, achieving and accumulating a wealth of classic film cultural assets. His profound influence on the development of Taiwanese cinema will endure as an everlasting paradigm.