Written by Sheng-mei Ma. This is Part II of the article. Through a close reading of the Chinese TV series Reset, the article argues that its recurring time loops, terrorism, and symbolic imagery allegorise authoritarian violence, historical repetition, and state repression in the People’s Republic of China, which ultimately frames Taiwan as the regime’s imagined final object of political and territorial consumption.
Written by Sheng-mei Ma. This is Part I of the article. Through a close reading of the Chinese TV series Reset, the article argues that its recurring time loops, terrorism, and symbolic imagery allegorise authoritarian violence, historical repetition, and state repression in the People’s Republic of China, which ultimately frames Taiwan as the regime’s imagined final object of political and territorial consumption.
Written by Meng Kit Tang. KMT Chairwoman Cheng Li-wun’s recently used the European Union as a model for cross-strait engagement. This article examines why the EU analogy has become a recurring feature of KMT discourse and whether the conditions that enabled European integration resemble those of the Taiwan Strait, arguing that key elements of postwar Europe are largely absent across the strait.
Written by Meng Kit Tang. The article examines how Cheng Nan-jung, now commemorated as a martyr of free speech, was once violently rejected by the opposition movement that later claimed his ideals. It argues that this episode is a test of democratic credibility. By placing the 1987 incident alongside present-day political rhetoric, the piece highlights the risks of selective remembrance in a maturing democracy.
Written by Sheng-mei Ma. This article reads Splendid Float (2004) as an allegory for Taiwan’s uncertain political and cultural identity. Through the dual life of a drag queen and Taoist priest, the film links gender fluidity, folk funeral rituals, and queer performance to Taiwan’s status as a marginalised “ghost island,” and explores themes of belonging, loss, alterity, and national ambiguity.
Written by Sheng-mei Ma. This article argues that the film Left-Handed Girl (2025) uses Taiwan’s night markets, betel nut culture, and the stigma surrounding left-handedness to critique patriarchal power. Through a multigenerational family drama centred on women’s resilience, the film exposes how oppression is perpetuated by both men and women while imagining a restored matrilineal bond that challenges inherited social hierarchies and cultural prejudices.
