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

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? 

Transition and Transformation: The Naming Dilemma in Today’s Taiwan Cinema

Written by Yiling Pan. What is the Taiwanese identity in today’s Taiwan Cinema? In 2008, Taiwan’s Cinema began to get back on its feet after an extended lull, with several new directors successively releasing critically acclaimed first works, such as Chung Mong-hong’s Parking, Tom Lin Shu-yu’s Winds of September and Gilles Yang’s Orz Boyz!. However, it took Wei Te-sheng’s debut, Cape No. 7, to become a box-office hit and arouse widespread interest in Taiwanese film. .

Give Him a Kite to Go Home: An Interview with Tsai Tsung-Lung about His Pilot Documentary ‘Nine Shots’

Interviewed, translated and edited by Isabelle Cheng. On 30 October 2020, the Taiwan Studies Programme hosted a webinar after the online screening of a pilot documentary Nine Shots (槍響之前) directed by Tsai Tsung-lung. This essay is an interview with Tsai about this pilot documentary, which discusses what, if not who, was responsible for the tragic death of Nguyen Quoc Phi. The latter was an undocumented Vietnamese migrant worker who was shot dead by the police, firing nine shots in 12 seconds, on 31 August 2017 in Hsinchu, northern Taiwan.

Documenting Taiwanese Modernism: Le Moulin’s Untimely Historical Project

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.