The book examines recent developments in Taiwan cinema, with particular focus on a leading contemporary Taiwan filmmaker, Wei Te-sheng, who is responsible for such Asian blockbusters as Cape No.7, Warriors of the Rainbow: Seediq Bale and Kano. The book discusses key issues, including: why (until about 2008) Taiwan cinema underwent a decline, and how cinema is portraying current social changes in Taiwan, including changing youth culture and how it represents indigenous people in the historical narrative of Taiwan. The book also explores the reasons why current Taiwan cinema is receiving a much less enthusiastic response globally compared to its reception in previous decades. 

chapter 1|7 pages

From Taiwan New Cinema to post-New Cinema

An introduction
ByKuei-fen Chiu, Ming-yeh T. Rawnsley, Gary D. Rawnsley

part I|84 pages

International reception and Taiwan cinema

chapter 2|16 pages

Taiwan cinema across the globe

A Brazilian perspective
ByCecília Mello

chapter 3|14 pages

Variables of transnational authorship

Hou Hsiao-hsien and Wei Te-sheng
ByValentina Vitali

chapter 4|14 pages

Taiwan cinema at the Venice Film Festival

From cultural discovery to cultural diplomacy
ByElena Pollacchi

chapter 5|16 pages

Contesting the national, labelling the renaissance

Exhibiting Taiwan cinema at film festivals in Japan since the 1980s 1
ByRan Ma

chapter 6|11 pages

Programming Taiwan cinema

A view from the international film festival circuit
ByBrian Hu

chapter 7|12 pages

Interventions on cultural margins

The case of the Chinese Film Forum UK and the presence of Taiwan cinema in the UK
ByFelicia Chan, Andy Willis

part II|98 pages

Taiwan cinema and social change

chapter 8|18 pages

Becoming a nation

The shaping of Taiwan’s native consciousness in Wei Te-sheng’s post-millennium films
ByChialan Sharon Wang

chapter 9|11 pages

Imagine there’s no China

Wei Te-sheng and Taiwan’s ‘Japan complex’
ByChris Berry

chapter 10|12 pages

Kano and Taiwanese baseball

Playing with transregionality and postcoloniality
ByPing-hui Liao

chapter 11|12 pages

Seediq Bale as history

ByRobert A. Rosenstone

chapter 12|13 pages

Violence and indigenous visual history

Interventional historiography in Seediq Bale and Wushe, Chuanzhong Island
ByKuei-fen Chiu

chapter 13|14 pages

Archiving a historical incident

The making of Seediq Bale as a socio-political event
ByYu-lin Lee

chapter 14|17 pages

Mona Rudo’s scar

Two kinds of epic identity in Seediq Bale
ByDarryl Sterk

part III|18 pages

Interview and supplement

chapter 15|12 pages

A conversation with Taiwanese filmmaker Wei Te-sheng

ByMing-yeh T. Rawnsley

chapter |2 pages

Appendix I

A short biography of Wei Te-sheng 1
ByMing-yeh T. Rawnsley

chapter |3 pages

Appendix II

Synopses of Cape No.7, Seediq Bale and Kano
ByMing-yeh T. Rawnsley