ABSTRACT
In many respects, films directed or produced by Wei Te-sheng mark distinct steps away from narrating the nation orientation of Taiwan New Cinema. His work continues to frame transregional, postcolonial and intergenerational subjects in portraying the island's entangled history and ethnicity. This is evident in Cape No.7, Seediq Bale and particularly Kano. This chapter examines Kano, written and produced by Wei, along the direction of its transregional, transcultural, postcolonial and intergenerational dynamics. On 7 November 2014, when Kano opened the University of California, San Diego (UCSD) Taiwan Film Showcase, in conjunction with San Diego's Asian Film Festival, up to 300 people turned up. Like the engineer Yoichi Hatta in the film who manages to finish the first canal in Taiwan, Jianan, which helps turn local farmers into the best rice-growers in the empire, Coach Hyotaro Kondo manages to put the Kano baseball team through many games and win, a remarkable deed he has never been able to accomplish back home.
