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A Postcolonial Interpretation on Hsiao-Hsien Hou’s Films A City of Sadness, The Puppetmaster, Good men Good Women Ko, Hyun-Chul This paper aims to develop a postcolonial interpretation on Hsiao-Hsien Hou’s Films A City of Sadness, The Puppetmaster, Good men Good Women in terms of the concepts of postcolonialism including ‘dominat period’, ‘hegemonic period’, ‘decolonization’, ‘cultural hybridity’ and ‘ambivalence’. The results of the investigation are summarized as the following. First, the paper investigates that Hsiao-Hsien Hou’s Film The Puppetmaster is represented ‘dominat period’ of postcolonialism, Film A City of Sadness is represented ‘hegemonic period’ of postcolonialism, And, Film Good men Good Women is represented ‘dominat period’ and ‘hegemonic period’ of postcolonialism. Second, the paper also argues that Hou’s Films A City of Sadness, The Puppetmaster, Good men Good Women are the cinema of objective observation that is based on the alienation effect. Third, it investigates that Hou’s Films A City of Sadness, The Puppetmaster, Good men Good Women all apply ‘cultural hybridity’ and ‘ambivalence’, that is, the concepts of postcolonialism. Finally, it is claimd that Hou’s Films A City of Sadness, The Puppetmaster, Good men Good Women have the limit that are softly resist against the Japanese imperialism not only ‘hegemonic period’ of postcolonialism but also ‘dominat period’ of postcolonialism.