Written by Yao-hung Huang. The Taiwanese director Wei De-Sheng burst onto the international scene over a decade ago with his critically acclaimed musical drama Cape No. 7. The movie was an unexpected box office success, and saw Wei held up as a beacon of hope for Taiwan’s beleaguered film industry. Nonetheless, Cape 7 came under fire in some quarters for painting the legacy of Japanese colonial rule in a positive light.
Written by Tim Shao-Hung Teng. In 2015 Taiwanese filmmaker Huang Ya-li (黃亞歷) released his documentary Le Moulin (Riyaori shi sanbuzhe/ 日曜式散步者) to critical acclaim. The film recounts the major life events of four core members of Taiwan’s prewar surrealist poetry society, Le Moulin (fengche shishe/風車詩社). Known for its experimental style that does away with interviews and voice-over narrations, the nearly-three-hour film cites, extracts, pastes, and freely associates materials such as literature, paintings, photography, sounds, film footage, diary entries, and newspaper clippings. These sources are not always readily recognisable and nor are they all directly related to the poets’ works.
Critical Women in Seediq Bale: A Response to Professor Chin-ju Lin Concerning Seediq Cultural Politic. Written by Darryl Cameron Sterk. In Seediq Bale men cut these ties asunder; and though I would not expect to find the same division of labour today, my observation is that it is still tends to be women who are trying to keep things together. I relied on Temi Nawi, a former Catholic nun who devoted the last three decades of her life to Seediq education and research, for the material on weaving.
Written by Maja Korbecka. There are yet more talented Southeast Asian Chinese diaspora filmmakers working in contemporary Taiwan cinema and bringing forth their own complex heritage, stories and new ideas to work with film art. They represent hope for revival and new directions in Taiwan cinema. Through their work they contribute to projecting the image of Taiwan as a multiethnic and multicultural state, the full potential of which is yet to be discovered.
Written by Daw-Ming Lee By the end of the 1970s Taiwan audience was antipathetic to the unimaginative remakes or copies of “national policy films,” martial arts
Written by Ming-yeh T. Rawnsley Professor Chris Berry (King’s College London) and I have been co-organising a project, “Taiwan’s Lost Commercial Cinema: Recovered and Restored”, since 2017. The