Taiwanese Cinema – Taiwan Insight

Island in Between: An Eternal Frontier?

10 April 2024 Chee-Hann Wu

Written by Chee-Hann Wu. This article argues that the Oscar-nominated short documentary Island in Between highlights the liminality and in-betweenness of both the island of Kinmen and the director’s diasporic identity. Rather than emphasizing its geopolitical significance and constant military presence, the short documentary focuses on the director’s personal journey and narrative, growing up in both Taiwan and the US, moving back to Taiwan in 2017, and during the COVID-19 pandemic, being drawn to Kinmen where his father served in the military. Through the director, the audience sees how he re-experiences Kinmen as a way to reconnect with a part of his identity, and is also able to reimagine Kinmen’s past and present.

Small Step from You, A Great Leap for Migrant Workers: Documentary, ‘Civil Society’ and ‘And Miles to Go Before I Sleep’ (2022)

11 January 2023 Chee-Hann Wu

Written by Hsin-Chin Evelyn Hsieh. The award for the best documentary feature at the 59th Golden Horse Awards held in November 2022 in Taipei, Taiwan, went to And Miles to Go Before I Sleep (2022), directed by Tsung-Lung Tsai. At the ceremony, film producer Kim Hong Nguyen, dressed in the Vietnamese traditional garment áo dài, read out a message from Quoc Phi Nguyen’s family expressing their grief and hopes. It was the first time a documentary on migrant workers was presented with the Golden Horse Award, thereby creating a platform for voiceless migrants and drawing attention to the related issues in mainstream society.

Placing Relationship over the Project: Filmmaking in Oceania

22 July 2022

Written by Cheng-Cheng Li. My filmmaking story in Oceania started with the Re/presenting Oceania course at the University of Hawai‘i. My Kumu (professor) Tarcisius Kabutaulake, who comes from the Solomon Islands, has been teaching and researching across the region for decades. His course invites me to critically engage with and discuss how the Pacific Islands have been represented in scholarly and other mediums. He brings me onto the ‘voyage’ across the ‘storyscapes’ of scholars, artists, performers, poets, and filmmakers to understand the politics of representation. This article will first discuss my filmmaking experience in Hawai‘i with the Pacific Island community. In the second section, with an increasing number of Indigenous Taiwanese wishing to connect with Oceania, I will address the interconnection story between Taiwanese Indigenous filmmakers and the Oceanic community. The theme of ‘relationship’ as ‘Priority’ will be interwoven into the stories.

Indigenous/Islander Fanaticism Across the Pacific: A Perspective from Films

19 July 2022

Written by Yawi Yukex; translated by Yi-Yu Lai. A type of Taiwanese is extremely fond of anything about the Indigenous peoples of Taiwan. They are captivated by all the totems and material cultures associated with Indigenous peoples, yet they frequently only believe what they already know about Indigenous cultures. Besides, they usually turn a deaf ear to Indigenous peoples’ enormous burdens and struggles. I call these individuals “Indigenous fanatics.” In the early 2000s, a series of Taiwanese films, such as “The Sage Hunter” (2005) and “Fishing Luck” (2005), portrayed Indigenous communities as shelters for those wishing to escape reality and contrasted cities with the communities. People believe that the expansion of civilisation causes problems, whereas mountains and forests represent the solution.

‘Queer’ Film and Representation at the Taiwanese Box Office: A Post-2019 Post-COVID Sinophone Dialogue

13 June 2022

Written by Elliott Y.N. Cheung. “Queerness is that thing that lets us feel that this world is not enough, that indeed something is missing,” says José Esteban Muñoz. So, if these resisting narratives defy the regulation of an all-encompassing narrative and seek to entice viewers to recognise what is not yet there — might we call them queer? Moreover, if a country that not only enables such views but can actively and constructively engage with them, struggling to hold them in all their difference — might we also call it queer?

From Meteor Garden to BL? 20 Years of Taiwanese Pop Culture in The Philippines

18 November 2021 Editor

Written by Yi-Yu Lai. “Have you ever watched Meteor Garden (流星花園) before? I was so crazy about Dao Ming Si and his gang before!” Many Taiwanese might be familiar with the similar conversation when they first met their Filipino friends. Since my friends know I am from Taiwan, they sometimes asked me to sing its theme song Qing Fei De Yi (情非得已) for them. They also love to hum the tune to me, though they cannot speak Mandarin at all.

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