Written by Cheng Li-jung. In recent years, “Animal writing” is a developing issue in literary research. Many studies have given a focus on animals and social culture since the 1980s. They combined with cross-field animal research and attempted to rethink the history of animals in the context of ecological ethics and animal protection. Now it can be said that animal history is a new historical perspective and emerging field.
Written by Jocelle Koh. During my time as a university student, what I would have given to have a copy of Routledge’s latest edition to their ‘Made in…’ series, ‘Made in Taiwan’. It would have been handy! As a student doing my thesis on the Taiwanese music industry in a university about as far removed from the topic as you can get, procuring the Taiwanese instalment of this academic series – completely in English and geared towards advanced understandings of Taiwanese popular music – would have saved me a lot of trouble.
Written by Eva Tsai. Sure, I had an agenda: First, I wanted to create at the time—with popular culture details—a sense of the social and cultural space. Second, I wanted to suggest that any entry point is a good entry point into Taiwanese popular music, so long as it is put into a historical and geopolitical context, along with developing a curiosity and mindfulness about what else was going on when it was made and circulated. Such was the spirit we carried into Made in Taiwan: Taiwanese popular music as world history.
Written by Sam Robbins. Taiwanese politics has been digital as long as it has been democratic. Taiwan’s first direct presidential election in 1996 was hotly debated on popular BBS systems of the time. More recent elections have been fought on blogs, PTT, facebook and elsewhere. Taiwanese politicians have always been looking for new methods to connect with voters and make themselves visible in an ever-changing digital landscape.
Written by Hegerová Terézia. Fire EX. started their career in 2000 as an indie punk rock band from Kaohsiung. The four members are singer Sam, bassist Pipi, drummer Wu Ti and guitarist Oreo. The group at first performed only covers, but later started to produce their own songs. They say that their style was influenced by many other singers and bands, especially those from the US like Blink 182 and Green Day.
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.
Written by Chee-Hann Wu. Homecoming 微塵望鄉 is a 2017 production by Puppet & Its Double Theater 無獨有偶工作室劇團 featuring Lily 馬莉莉, daughter of veteran father and immigrant mother, and Paochi (寶枝), Vietnamese caregiver who takes care of Lily’s dementia inflicted farther.
Written by Perl Li. In light of the recent pressure China is exerting on Taiwan through tourism, I hope the Tourism Bureau will properly utilise its resources to improve its campaigns both to support the tourism economy as well as Taiwan’s international reputation.
Writen by Giulia Mengato. My research on Indigenous communities in Taiwan shows that the needs and wishes of Indigenous peoples are still considered secondary to those of government. I argue for a more nuanced approach wherein public institutions work alongside local people. Government restrictions should not suffocate community will and should not limit the agency of local people.
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 Zuzana Shejbalová. Teresa Teng, in Mandarin Deng Lijun 鄧麗君, was a Taiwanese singer and one of the ‘Five Great Asian Divas’ of the 1970s and 1980s, alongside Judy Ongg, Agnes Chan, Ou-Yang FeiFei and Yu Yar. She was born on 29 January 1953 and unfortunately died at only 42 on 8 May 1995, suffering an asthma attack while on vacation in Thailand. She remains one of the most successful singers of the Mandarin-speaking world.
Written by Chen-Yu Lin. 30 years since inception the Awards are still presented by the Ministry of Culture, but have also become a stage where musicians are free to make political statements.