Written by Sheng-mei Ma. Part II of the article perceives Detention as a haunting of Taiwan’s White Terror, where Fang’s guilt, forbidden love, and suppressed memory recur through ghosts, banned texts, and images of facelessness and decapitation. Its hybrid cultural references reveal Taiwanese identity as historically layered, while headlessness symbolises political violence, erasure, and unresolved collective trauma.
Written by Sheng-mei Ma. In Part I of the article, the author examines how the film Detention (2019), through a return to Taiwan’s White Terror, exposes unresolved tensions among Chineseness, Taiwaneseness, and Japanese colonial legacies. Through Fang’s mixed family, religious practices, and betrayal of the banned Study Group, the film links political repression with intimate conflicts of love, resentment, identity, and betrayal.
Written by Sheng-mei Ma. This article focuses on self-alienation and the pursuit of Eurocentric beauty standards. It examines how Chinese linguistic biases and the prevalence of cosmetic surgery among celebrities reflect a subconscious, self-inflicted whitewashing that parallels historical settler colonialism and racial hierarchies.
Written By Meng Kit Tang. This article examines what Taiwan’s Han Kuang 42 exercise and China’s expanding mock-Taipei training facilities reveal about how both sides are preparing for the opening hours of a Taiwan Strait conflict. It argues that both sides are preparing for the same strategic problem from opposite directions: Taiwan is trying to preserve time and China is preparing to compress that window.
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.
