100 books like Taiwan Cinema as Soft Power

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?  

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.       

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.     

I recommend this book because it is one of the few single-authored monographs in English that covers Taiwan cinema exclusively and comprehensively.

The study of Taiwan cinema has proliferated and diversified a great deal in recent years. However, when Hong’s Taiwan Cinema was published in 2011, most books on this subject were edited volumes and tended to have a narrower focus at the time. I like the fact that the author has offered many first-hand research materials.

I learned not only about the history of Taiwan cinema from pre-1945 to the new millennium but also why and how Taiwan cinema has shown the island as a contested nation on screen throughout the many decades. 

Because this book concentrates on only six 1939 movies – Gone with the Wind, The Wizard of Oz, Mr. Smith Goes to Washington, Stagecoach, The Hound of the Baskervilles, and The Adventures of Huckleberry Finn – Adams is able to go into much more detail about the making of each film and the critical reaction each received. I'd be hard-pressed to pick only six movies from that eventful year and movie fans will disagree with Vieira's choices somewhere down the line. But once you get past that, this book is filled with important information and plenty of trivial details that it is a great read.

This short but very informative and stimulating book in the BFI Film Classics series was first published in 2009, with a new edition coming out in 2020.

Brilliantly illustrated with screenshots from Star Wars and some of the films George Lucas’s most famous production was influenced by, Will Brooker combines a meticulous analysis of the style, story, and themes of Star Wars with important details about the film’s production history and illuminating references to Lucas’s previous films and to the Star Wars saga as a whole.

The year before Errol Flynn blew into Hollywood, the “pre-Code” era ended. What was the “pre-Code” era? It was the period in the early 1930s when Hollywood rode the cliff, making movies about sensational topics like adultery, pay-for-play, drug use, and more. Many of the pictures included a scene or two with leading ladies scantily clad and even braless. Leading men were often scoundrels.

This book entertainingly details both the point of view of studios struggling to remain relevant in the depths of the Great Depression by creating salacious products and the outcry from alarmed parents who took their kids to the movies only to cover their eyes and rush them back out again.

The author backs up his narrative with eye-popping photos illustrating just what was so shocking about the pre-Code era. This interesting period of Hollywood history ended abruptly and, unfortunately, with the puritanical “Production Code” that ushered… show more.

In my book club I’m known as Second Carl, since Carl Gottlieb has been a member far longer than I. In fact, I was still a lawyer in Washington, D.C. secretly dreaming about Hollywood but never suspecting I’d someday myself work on a Spielberg TV series, when I read this short, fast, now revered account of the filming of Spielberg’s breakout film. It proved to be a deeply accurate and comprehensive description – and warning – about what life and work on location and in Hollywood itself would be like. It’s also so engagingly readable and relevant, a Broadway musical based on the book is in tryouts as I write these words.

Only a small fraction of the millions of Americans in uniform during World War II were engaged in combat operations. Harris’s well-researched account zeroes in on the service of five Hollywood directors, who, like many other professionals, were asked to adapt their civilian skills to wartime needs.

Tacking back and forth between Washington and other stateside locales and posts far afield—from Midway and the Aleutian Islands to North Africa and Italy—the book’s carefully drawn action conveys the far-flung exploits of filmmakers during the war as well as how those experiences impacted their craft.

Dazed and Confused, Richard Linklater’s plot-light, pot-heavy 1993 film about Texas teens hanging out on the last day of school in 1976, is perhaps my favorite movie ever, so I was already inclined to love this oral history about the film’s creation and legacy. Maerz expertly weaves the voices of almost everyone involved in the project — from breakout star Matthew McConaughey to members of the crew — to create a highly entertaining, super-compelling look at a stoner cinema classic.