Written by Ming-yeh T. Rawnsley. This article explores how food functions as a cultural language in Taiwan through three works: Eat Drink Man Woman, Zone Pro Site, and Taiwan Travelogue. It argues that food expresses family ties, community traditions, colonial encounters, and cultural hybridity, offering a compelling lens for understanding Taiwanese identity and memory.
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.
Written by Ming-yeh T. Rawnsley (蔡明燁). Drawing on Behind The Scenes’ reflections on Taiwan’s democratic development and the Tangwai movement, this article explores contemporary debates over peace, security, and the costs associated with preserving freedom and democracy. At its core, it asks readers to reflect on the meaning of peace and the risks societies may choose to acknowledge – or ignore – in pursuing it.
Written by Ana Paloma Martínez Gómez. This article explores how Indigenous identity is portrayed on screen and how film supports cultural revitalisation and self-representation through a decolonial and gendered lens. As a new Taiwanese national identity emerges, the gap between official recognition and ongoing cultural marginalisation reveals the complex space Indigenous communities occupy.
Written by I-Lin Liu. This article provides a critical analysis of the Oscar-nominated short documentary Island in Between, asking who the film is for and what lies beyond the representations. The author traces the history of when and how nonfiction films became a medium for intercultural communication, which resonates with the director’s experiences and goals for the film. Despite the film’s deliberate distance from forms of government-produced propaganda, connections can still be seen, particularly that government-sponsored or produced films, in fact, dwindled from the Best Documentary Short Film category decades after its establishment. In addition, the depiction of Kinmanese in the film, in conversation with national identities and boundaries, remains contested through the director’s lens.
