Here are 100 books that Taiwan Cinema fans have personally recommended if you like
Taiwan Cinema.
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I grew up in Taiwan and have always been fascinated by cinema. I received my Ph.D. in 1998 in the UK in communications studies and shifted my research priority from media to Taiwan cinema in 2005 when I became Head of Chinese Studies at the University of Nottingham Ningbo, China. I had fun working on several projects, screening Taiwanese films, discussing Taiwan cinema and society with filmmakers and audiences, and publishing widely in Chinese and in English. I have travelled, lived, and worked in different cities and countries since 2005 and have continued to find it rewarding to study what I have been passionate about since childhood.
I have always enjoyed reading works by Emilie Yueh-yu Yeh and Darrell William Davis as I find their perspectives on the subject I love–Taiwan cinema–refreshing and intelligent.
In their new volume, Yeh and Davis team up with co-editor Wenchi Lin and provide a meticulous examination of 32 individual Taiwanese films between 1963 and 2017. I like the fact that this book offers a wide spectrum of Taiwanese cinematic output in addition to updating the existing literature.
I am particularly inspired by a question that runs through the entire volume: What does national cinema mean to Taiwan at different times under different social, political, and cultural contexts?
Curating Taiwan Cinema: 32 New Takes covers thirty-two films from Taiwan, addressing a flowering of new talent, moving from art film to genre pictures, and nonfiction. Beyond the conventional framework of privileging "New and Post-New Cinema," or prominence of auteurs or single films, this volume is a comprehensive, judicious take on Taiwan cinema that fills gaps in the literature, offers a renewed historiography, and introduces new creative force and voices of Taiwan's moving image culture to produce a leading and accessible work on Taiwan film and culture.
Film-by-film is conceived as the main carrier of moving picture imagery for a…
I grew up in Taiwan and have always been fascinated by cinema. I received my Ph.D. in 1998 in the UK in communications studies and shifted my research priority from media to Taiwan cinema in 2005 when I became Head of Chinese Studies at the University of Nottingham Ningbo, China. I had fun working on several projects, screening Taiwanese films, discussing Taiwan cinema and society with filmmakers and audiences, and publishing widely in Chinese and in English. I have travelled, lived, and worked in different cities and countries since 2005 and have continued to find it rewarding to study what I have been passionate about since childhood.
This is one of the first English books I read about Taiwan New Cinema (TNC), arguably the most significant film movement in Taiwan to date.
When the TNC occurred in the 1980s, I was a student and Taiwan was going through the early stage of regime transition and democratization. It was an exciting but also uncertain time. I found films of TNC compelling but often opaque in meaning.
Reading this book in the early 21st century suddenly unlocked a lot of mysteries about the TNC as a film movement and the brilliance of these works for me. It motivated me to start researching Taiwan cinema as a subject more seriously.
This is the first English-language anthology on the Taiwan New Cinema and its legacy. It is an exciting collection which covers all the major filmmakers from Hou Hsiao Hsien and Edward Yang to Ang Lee and more. The volume gatehrs a range of essays that analyze individual films produced since the advent of the Taiwan New Cinema in the early 1980s.
Taiwan and its internationally renowned cinema are " on the edge" in more ways than one. For all of its history the island has been on the edge of larger geopolitical entities, subjected to invasions, migrations, incursions, and pressures.…
I grew up in Taiwan and have always been fascinated by cinema. I received my Ph.D. in 1998 in the UK in communications studies and shifted my research priority from media to Taiwan cinema in 2005 when I became Head of Chinese Studies at the University of Nottingham Ningbo, China. I had fun working on several projects, screening Taiwanese films, discussing Taiwan cinema and society with filmmakers and audiences, and publishing widely in Chinese and in English. I have travelled, lived, and worked in different cities and countries since 2005 and have continued to find it rewarding to study what I have been passionate about since childhood.
When I decided to study Taiwan cinema more systematically, I tried to read as much on the subject as possible. I enjoyed this book because it offered me a broad overview of many kinds of questions that can be asked about and through Taiwan cinema.
For example, I realized that it is possible to try and understand Taiwanese domestic & international politics, cross-strait relations, colonial history, and the impact of globalization in a more relatable manner by reading films and documentaries as texts. It is also possible to analyze different festivals, genres, filmmakers, and individual films from the perspectives of the film industry and film artistry.
I was totally energized by the enormous potential the subject of Taiwan cinema can offer because of this book.
Following the recent success of Taiwanese film directors, such as Hou Hsiao-hsien, Edward Yang, Ang Lee and Tsai Ming-liang, Taiwanese film is raising its profile in contemporary cinema. This collection presents an exciting and ambitious foray into the cultural politics of contemporary Taiwan film that goes beyond the auterist mode, the nation-state argument and vestiges of the New Cinema.
Cinema Taiwan considers the complex problems of popularity, conflicts between transnational capital and local practice, non-fiction and independent filmmaking as emerging modes of address, and new possibilities of forging vibrant film cultures embedded in national (identity) politics, gender/sexuality and community activism.…
I grew up in Taiwan and have always been fascinated by cinema. I received my Ph.D. in 1998 in the UK in communications studies and shifted my research priority from media to Taiwan cinema in 2005 when I became Head of Chinese Studies at the University of Nottingham Ningbo, China. I had fun working on several projects, screening Taiwanese films, discussing Taiwan cinema and society with filmmakers and audiences, and publishing widely in Chinese and in English. I have travelled, lived, and worked in different cities and countries since 2005 and have continued to find it rewarding to study what I have been passionate about since childhood.
I think the author is very clever by bringing in the trendy concept of soft power and thus opening a new window for our understanding of Taiwan cinema.
I found the book not the easiest to read if you are not particularly familiar with the language of cultural studies or with specific films and filmmakers in Taiwan. However, the author has presented a convincing and valuable argument by linking a cinematic output to the entire system, which enables the production, circulation, and distribution of this output.
In other words, Taiwan cinema is a result, but the system that enriches creativity is where Taiwan’s values and soft power lie.
Over my lifetime I have been involved in myriad policy issues running from 1970s anti-inflation policies, through the creation of NAFTA in the 1980s, to dealing with climate change in the 2000s. My interest and that of my co-author in technological change and economic growth entailed involvement in innovation policy. We are particularly worried because many citizens have no realisation of the important part that public policy has played in technological changes. Ignorance of this is dangerous in that it may lead legislatures to inhibit the public sector’s future role in such developments without which we have a much-diminished chance of dealing with climate change and holding our own in international economic competition.
In the original version of this book, Wade refutes the two extreme versions of the reasons for the dramatic successes of the East Asian Tigers, particularly Taiwan, in going from undeveloped to advanced economies, fully integrated into the global economy, within one generation.
One version is that the success was mainly due to the free market and the other that it is attributed mainly to government intervention. Instead, Wade shows that key decisions were divided between the private and public sectors in a way that produced a synergy between them.
The revised version extends the coverage to explain the booms and busts in the early 21st century and outlines his new agenda for national and international development policy.
Published originally in 1990 to critical acclaim, Robert Wade's Governing the Market quickly established itself as a standard in contemporary political economy. In it, Wade challenged claims both of those who saw the East Asian story as a vindication of free market principles and of those who attributed the success of Taiwan and other countries to government intervention. Instead, Wade turned attention to the way allocation decisions were divided between markets and public administration and the synergy between them. Now, in a new introduction to this paperback edition, Wade reviews the debate about industrial policy in East and Southeast Asia…
I’m a Kiwi who has spent most of the past three decades in Asia. My books include Formosan Odyssey,You Don't Know China, and Taiwan in 100 Books. I live in a small town in southern Taiwan with my Taiwanese wife. When not writing, reading, or lusting over maps, I can be found on the abandoned family farm slashing jungle undergrowth (and having a sly drink).
An enjoyable read and a practical guide for those looking to explore Taiwan’s aboriginal cultures and the vestiges of Dutch rule on Taiwan in the seventeenth century. It’s a beautifully illustrated book containing hundreds of photographs and useful travel information. The focus is on getting off the beaten path, and the book details fascinating places not covered by other guidebooks, which is a testament to the two authors’ expert knowledge.
Menno Goedhart was the Representative of The Netherlands for eight years. He traveled, together with tour guide Cheryl Robbins, to parts of Taiwan that most tourists do not see and met and befriended many indigenous people. This book contains a selection of fascinating places, with explanations on how to get there, where to stay, and what to eat. In the 17th century, Taiwan was occupied by Dutch East India Company forces. From their base in the southern city of Tainan, they explored the island, leaving behind many stories, some of which are also included in this book.
I’m a Kiwi who has spent most of the past three decades in Asia. My books include Formosan Odyssey,You Don't Know China, and Taiwan in 100 Books. I live in a small town in southern Taiwan with my Taiwanese wife. When not writing, reading, or lusting over maps, I can be found on the abandoned family farm slashing jungle undergrowth (and having a sly drink).
Canadian Jessica Lee comes to Taiwan to unravel some family history (her grandfather, a pilot with the Flying Tigers, was part of the exodus to the island following the Nationalists’ defeat in China). A nature writer, Lee also investigates Taiwan’s beautiful mountain areas. The result is a well-written but sometimes odd mix of a family story and Taiwan’s plants. The country’s remarkable flora has too long been ignored in English-language works so it’s good to have it showcased, and by a capable writer. Two Trees Make a Forest is one of the most highly praised Taiwan titles of recent years.
I have learned many words for 'island': isle, atoll, eyot, islet, or skerry. They exist in archipelagos or alone, and always, by definition, I have understood them by their relation to water. But the Chinese word for island knows nothing of water. For a civilisation grown inland from the sea, the vastness of mountains was a better analogue: (dao, 'island') built from the relationship between earth and sky.
Between tectonic plates and conflicting cultures, Taiwan is an island of extremes: high mountains, exposed flatlands, thick forests. After unearthing a hidden memoir of her grandfather's life, written on the cusp of…
I’m a Kiwi who has spent most of the past three decades in Asia. My books include Formosan Odyssey,You Don't Know China, and Taiwan in 100 Books. I live in a small town in southern Taiwan with my Taiwanese wife. When not writing, reading, or lusting over maps, I can be found on the abandoned family farm slashing jungle undergrowth (and having a sly drink).
Fun excursions around Taiwan told by the likable duo of Brown – a Taiwan long-timer and veteran travel writer – and Huffman, who is on her first trip to Asia. It’s a quirky travelogue packed with practical info, and with the pairing of new eyes and an old hand working beautifully. They both write with wit and affection for the country. Huffman’s observation that “Taiwan is never boring,” applies to the book. Memorable sections include a visit to the remote aboriginal village of Smangus, meeting various artists, an odd encounter with a fortune teller, and the auditory pleasures of living in “Dog Lane.”
Formosa Moon is a romantic, geeky cultural journey around Taiwan undertaken by a couple comprised of a seasoned guidebook writer intimately familiar with Asia and a first-time visitor who agreed to relocate sight unseen. Join the couple on their journey of discovery through Formosa, “The Beautiful Island”.
The ghostly/magical and Taiwan are two of my major interests—I have written about both in my fiction. After living in Taiwan for a few years and getting to know my mother’s side of the family, I gained an appreciation for its complicated history, riveting politics, and the energy of daily life there. Its confluence of people and histories has made it a unique cultural amalgam and these books capture the way folk religion and the spiritual/magical are wedded into the bustling contemporary urban life of Taiwan. I hope you find yourself as enchanted and intrigued by these stories as I have been!
Though Bestiary is not set in Taiwan, K. Ming Chang’s debut novel incorporates a sense of enchantment not only in her queer retellings of Taiwanese folk tales, but also in her dazzling language. She casts a spell on the reader as a magician of language, making nouns and verbs work together in innovative ways.
Three generations of Taiwanese American women are haunted by the myths of their homeland in this blazing debut of one family's queer desires, violent impulses and buried secrets.
One evening, Mother tells Daughter a story about a tiger spirit who lived in a woman's body. Her name was Hu Gu Po, and she hungered to eat children, especially their toes. Soon afterwards, Daughter awakes with a tiger tail. And more mysterious events follow: Holes in the backyard spit up letters penned by her estranged grandmother; a visiting aunt leaves red on everything she touches; a ghost bird shimmers in an…
Economic history is, quite simply, my job: I write about it, I research it, and I’ve been teaching it for ten years at a small liberal arts college in New England. I’ve always felt that the best way to make sense of economic change is not by studying formal laws but by reading what past actors have left behind. Numbers and statistics are indispensable, but they acquire meaning only in relation to ideas and power. In any case, that’s what I take the books on this list to suggest. I think of these books—and others like them—as trusty companions. Perhaps you will, too.
Pithy and compelling, this is perhaps the single best primer on the economic rise of East Asia.
Studwell pinpoints three recipes that allowed Japan, Taiwan, South Korea, and China to escape poverty and become export powerhouses: first, industrial policy; second, government oversight over lending and capital flows (sometimes called “financial repression”); and third—something few before him have grasped—egalitarian land reforms that broke up large estates and gave small plots to the many.
Discussions of economic development are often charged with ideology-free markets or government. As this book nonchalantly reveals, that’s a false opposition. In Studwell’s telling, development happens when governments get creative with markets: forge them, shape them, unleash them, and rein them in. A bracing lesson for today’s debates.
Until the catastrophic economic crisis of the late 1990s, East Asia was perceived as a monolithic success story. But heady economic growth rates masked the most divided continent in the world - one half the most extraordinary developmental success story ever seen, the other half a paper tiger.
Joe Studwell explores how policies ridiculed by economists created titans in Japan, Korea and Taiwan, and are now behind the rise of China, while the best advice the West could offer sold its allies in South-East Asia down the economic river. The first book to offer an Asia-wide deconstruction of success and…
