Thirty-two New Takes on Taiwan Cinema

Emilie Yueh-yu Yeh is Lam Wong Yiu Wah Chair Professor and Dean of Faculty of Arts at Lingnan University.Darrell William Davis is Honorary Professor in the Visual Studies Department at Lingnan University.Wenchi Lin is Professor of English and Dean of the College of Liberal Arts at National Central University, Taiwan.

• AcknowledgementsA Note on Transliteration and Translation1. Curating Taiwan Cinema in the 21st CenturyEmilie Yueh-yu Yeh, Darrell William Davis, and Wenchi Lin2. Our Neighbors (1963): Historiography of Home and Emerging Realism in Post-1949 TaiwanGuo-juin Hong3. The Best Secret Agent (1964): The First Female Spy Hero of Taiyu pianChunchi Wang4. The Bride Who Has Returned from Hell (1965): Cosmopolitan VernacularismPing-hui Liao5. Hsi Shih: The Beauty of Beauties (1965): The Grand Mirage of Taiwanese CinemaJames Udden6. Dangerous Youth (1969): Bricolage in Taiwanese-language FilmsEmilie Yueh-yu Yeh7. Home, Sweet Home (1970): Home Is Where One BelongsI-In Chiang8. The Young Ones (1973): The Double Lives of a Cold War Wenyi MelodramaZhen Zhang9. Victory (1976): Symbolic Analysis of the Film in Three PartsJames Wicks10. Legend of the Mountain (1979): Rediscovering King Hu’s Land of Wayward GhostsMichael Berry11. Kuei-mei, A Woman (1985): Female Mobility and Modern HomemakingTingwu Cho12. Taipei Story (1985): Floundering in the City of Masonry and GlassLing Zhang13. Daughter of the Nile (1987): Hou Hsiao-hsien’s Dark Pop ExperimentJason McGrath14. Strawman (1987): Black Comedy, Bromance, and Prosthetic MemoryCorrado Neri15. A Brighter Summer Day (1991): Taiwan NocturneDarrell William Davis16. Super Citizen Ko (1994): A Cartography of Memory and OblivionWafa Ghermani17. Goodbye South, Goodbye (1996): Another Gangster Movie?Shiao-Ying Shen18. Buddha Bless America (1996): Figures of TranslationNicole Huang19. Tonight Nobody Goes Home (1996): Homecoming and Women’s Self-Awakening at a Time of Family and National CrisisMei-Hsuan Chiang20. Boys for Beauty (1999): Participatory Mode, Camp Aesthetic, Bentu DiscourseShi-Yan Chao21. Three Times (2005): Hou Hsiao-hsien's Cinematic Poetics of Mise-en-songWenchi Lin22. God, Man, Dog (2007): Migrants in Glocalized SpacesKate Chiwen Liu23. Cape No.7 (2008): A Taiwan Structure of FeelingChris Berry24. Drifting Flowers (2008): Trans-reality and the Margins of the ShadowHelen Grace25. Visage (2009): That Obscure Face of the MusesBeth Tsai26. Monga (2010): Affect and StructureEarl Jackson27. Beyond Beauty: Taiwan from Above (2013): The Most Influential Documentary FilmAndy Birtwistle and Kuei-fen Chiu28. Godspeed (2016): Memories, Transindividuation, and Becoming TaiwaneseVictor Fan29. True Emotion Behind the Wall (2017): Taste of Salty ChickenDarrell William Davis30. The Bold, the Corrupt and the Beautiful (2017): Modernity, Chinese-ness and National AllegoryHsien-hao Liao31. The Great Buddha+ (2017): Tracing the Limits of the VisibleCarlos Rojas32. Small Talk (2017): Critiquing Heteronormativity, Resisting HomonormativityTze-lan Deborah Sang33. On Happiness Road (2017): Taiwanese Images and Screen Memory in Coming-of-Age AnimationLaura Jo-han WenChinese GlossaryBibliographyFilmographyContributorsIndex

"Beyond the book’s educational value, I believe that the editors and authors of this book successfully arouse readers’ curiosity about the details of Taiwanese society, history, and its struggles, through thoughtful analysis of these films. . . . This book is thus more than a book on Taiwanese film: it curates Taiwan’s history and struggles through the cinematic lens."