Bibliography

Introduction

Reference Works

Documentary

Environment

Film History

Filmmakers and Their Films

Gender

General Studies

Politics

Taiwan New Cinema and Post-Taiwan New Cinema

Books in Chinese

Introduction

Despite the fact that Taiwan cinema has been known globally since the late 1980s, and masters such as Hou Hsiao-hsien, Edward Yang, Ang Lee, and Tsai Ming-liang are household names among international art film enthusiasts, relatively few books, in any language, have explored Taiwan cinema in depth.

Guo-Juin Hong’s Taiwan Cinema: A Contested Nation on Screen (2011) is by far the most up-to-date and comprehensive study of Taiwan cinema and its history. It discusses not only auteurs of Taiwan New Cinema (TNC) and post-TNC, but also pre-1945 colonial cinema, as well as popular cinema between 1955 and 1982. Taiwan Film Directors: A Treasure Island (2005), written by Emilie Yueh-yu Yeh and Darrell William Davis, is one of the few book-length studies available. The work focuses on post-World War II Taiwan film history, with an emphasis on TNC, especially directorial styles and film forms of the four masters mentioned above.

Two recently published collections are also useful. One is Chris Berry and Feii Lu’s Island on the Edge: Taiwan New Cinema and After (2005). The other, written by Darrell William Davis and Ru-shou Robert Chen, is Taiwan: Politics, Popularity and State of the Arts (2007). Island on the Edge: Taiwan New Cinema and After (2005) is an anthology on the major 1980s Taiwan New Cinema filmmakers and their important works, such as Hou, Yang, and Wang Tung, as well as those who came after TNC (sometimes called the “Second New Wave”), including Wu Nian-Jen (A Borrowed Life), Tsai Ming-liang (Vive L’Amour), Ang Lee (Eat Drink Man Woman and Crouching Tiger, Hidden Dragon), and lesser-known Chang Tso-Chi (Darkness and Light). Cinema Taiwan: Politics, Popularity and State of the Arts (2007) concentrates on post-TNC films and filmmakers, who, unlike their predecessors in TNC, are fragmented, multifaceted, and sometimes in conflict with each other. The book does not discuss aesthetics nor does it analyze film forms of post-TNC cinema (termed Cinema Taiwan, as in the title of the anthology); rather the authors use various approaches to investigate issues such as non-fiction and independent filmmaking, identity politics, gender and sexuality, and community activism.

Taiwan Cinema/Le cinéma taiwanais (2009), edited by Corrado Neri and Kirstie Gormley, a publication that accompanied the 15th Lyon Asian Film Festival’s “Focus on Taiwan Cinema,” is an anthology of essays on various topics, such as Taiwan New Cinema, contemporary documentaries, Aborigine cinema, identity crisis, as well as the films of Hou and Tsai. Documenting Taiwan on Film: Issues and Methods in New Documentaries (2012), edited by Sylvia Li-chun Lin and Tze-Lan Deborah Sang, is the only book in English on the development and issues in Taiwan documentary since the mid-1980s.

East Asian Cinema and Cultural Heritage: From China, Hong Kong, Taiwan to Japan and South Korea (2011), edited by Kinnia Yau Shuk-ting, explores how traditional elements, such as martial arts, music, landscape, aesthetics, stage performance, and legends shape cinemas in China, Hong Kong, Taiwan, Japan, and South Korea. Hou Hsiao-hsien’s films are used as examples for discussion in several chapters. Song Hwee Lim and Julian War coedited The Chinese Cinema Book (2011), collected essays on the cinemas of People’s Republic of China (PRC), Hong Kong, and Taiwan, including one on Healthy Realism and Mandarin Cinema (1964-1980) and another on Taiwan New Cinema and post-TNC. Tonglin Lu’s Confronting Modernity in the Cinemas of Taiwan and Mainland China (2007) analyzes paradigmatic films of Taiwan and Mainland China to illustrate differences in the experience of modernity in both countries. Yingjin Zhang’s Chinese National Cinema (2004) dedicates one of its eight chapters completely to Taiwan cinema from 1896 to 1978, and sections of two other chapters to Taiwan cinema 1979-1989 and 1990-2002 respectively.

Quite a few books focus part of their contents on issues related to Taiwan cinema. June Chun Yip’s Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary (2004), explores how a “national language” was created, manipulated, and transformed in the cultural imaginary through analyzing nativist writer Huang Chun-ming’s short stories and director Hou Hsiao-hsien’s TNC films. Sylvia Li-chun Lin devotes several chapters of Representing Atrocity in Taiwan: The 2/28 Incident and White Terror in Fiction and Film (2007) to discussing Hou Hsiao-hsien’s masterpiece A City of Sadness and his Good Men, Good Women, Lin Cheng-sheng’s March of Happpiness, Wan Jen’s Super Citizen Ko, and Hsu Hsiao-ming’s Heartbreak Island. In A History of Pain: Trauma in Modern Chinese Literature and Film (2011), Michael Berry examines the representation of six historical traumas in modern Chinese history that took place in Taiwan, including the “Musha Incident” of 1930 and “228 Incident” of 1947.

In her Situating Sexualities: Queer Representation in Taiwanese Fiction, Film and Public Culture (2003), Fran Martin discusses the queer subject matter represented in several Taiwanese films, including The Wedding Banquet and The River. Another book by Fran Martin, Backward Glances: Contemporary Chinese Cultures and the Female Homoerotic Imaginary (2010), examines representations of erotic and romantic love between women in popular films, fiction, and TV drama in Mainland China, Hong Kong, and Taiwan. Lim Song-Hwee’s Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas (2007) explores gay films in the PRC, Taiwan, and Hong Kong, and engendering conditions in those areas.

China on Screen (2006) and Melancholy Drift (2010), two books published by Hong Kong University Press, include discussions about Taiwan directors and their films. Chris Berry and Mary Farquhar’s China on Screen: Cinema and Nation (2006) explores the historical development of Chinese (Taiwan included) cinema and nationhood, and examines how films from the PRC, Hong Kong, Taiwan, and the Chinese diaspora construct and contest different ideas of the Chinese nation. Films of Taiwan directors Lee Hsing, Hou Hsiao-hsien, and Ang Lee are discussed. Jean Ma’s Melancholy Drift: Marking Time in Chinese Cinema (2010) devotes four of its five chapters to the art films of Hou and Tsai. Stephen Teo’s Chinese Martial Arts Cinema: The Wuxia Tradition (2009) includes one chapter each on the wuxia films of Chang Cheh and King Hu. Rey Chow uses two chapters in Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visibility (2007) to approach Ang Lee’s The Wedding Banquet, Wayne Wang’s Eat a Bowl of Tea, and Tsai Ming-liang’s The River, from multiple perspectives.

John Lent’s The Asian Film Industry (1990), based on years’ of research and interviews, as well as two books he edited, Asian Popular Culture (1995) and Animation in Asia and the Pacific (2001), provide useful, though a bit dated, information regarding the Taiwan film industry, film, and animation.       Michael Curtin’s Playing to the World’s Biggest Audience: The Globalization of Chinese Film and TV (2007) partially explores Hollywood’s dominance over Taiwan cinema, as well as the commercial ventures into film and television by billionaire Koo Chen-fu and aspiring billionaire Chiu Fu-sheng.

Transnational Chinese Cinemas: Identity, Nationhood, Gender (1997), Shelden Hsiao-peng Lu’s pioneering anthology, contains three chapters exploring topics related to the films of Hou Hsiao-hsien, Ang Lee, and Stan Lai. Chinese-Language Film: Historiography, Poetics, Politics (2005), coedited by Sheldon H. Lu and Emilie Yueh-yu Yeh, contains several chapters on Hou’s films, post-Taiwan New Cinema, Crouching Tiger, Hidden Dragon, Wu Nien-Jen’s Dou-san, and one on feminine writing in Taiwan cinema.

Books that address individual directors and their films include, James Udden’s No Man an Island: The Cinema of Hou Hsiao-hsien (2009), John Anderson’s Edward Yang (2005), Li Cheuk-to and Bryan Chang’s edited collection The One and Only Edward Yang (2008), a publication accompanying the 32nd Hong Kong International Film Festival’s special tribute to Yang, as well as Whitney Crothers Dilley’s The Cinema of Ang Lee: The Other Side of the Screen (2007) and Ellen Cheshire’s Pocket Essentials Guide to Ang Lee (2001). Kwok-Kan Tam and Wimal Dissanayake’s New Chinese Cinema (1998) focuses on the works of six directors, including Taiwan’s Hou Hsiao-hsien and Edward Yang. New Chinese Cinemas: Forms, Identities, Politics (1994), edited by Nick Browne, et al, includes two chapters on the films of Yang and Hou respectively. Ang Lee is also one of the featured directors in Fifty Contemporary Filmmakers (2002), edited by Yvonne Tasker. Garu G. Xu’s Sinascape: Contemporary Chinese Cinema (2006) provides close readings of important films from the PRC, Taiwan, and Hong Kong, including Hou’s Millennium Mambo. Gina Marchetti’s From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997 (2006) includes an interview with Edward Yang. Stephen Lowenstein’s My First Movie: Twenty Celebrated Directors Talk About Their First Film (2002) includes an interview with Ang Lee.

Two books from the Hong Kong Film Archive on directors Li Han-hsiang and Chang Cheh are also useful in understanding their film careers in Taiwan: Li Han-hsiang, Storyteller (2007), edited by Wong Ain-ling, and Chang Cheh: A Memoir (2004), written by the director himself. Speaking in Images: Interviews with Contemporary Chinese Filmmakers (2005), written by Michael Berry, includes dialogues with Hou (and his writing partner Chu Tien-wen), Yang, Ang Lee, Tsai, as well as lesser-known Wu Nien-Jen and Chang Tso-Chi.

Akiko Tetsuya’s The Last Star of the East: Brigitte Lin Ching Hsia and Her Films (2005), is a book of interviews with Brigitte Lin, a Taiwan and Hong Kong superstar of the 1970s-1990s, and her friends and filmmakers in both areas. Chinese Film Stars (2010), edited by May Farquhar and Yingjin Zhang, examines ethnic Chinese film stars, including Taiwan’s Brigitte Lin and Lee Kang-sheng. Chinese Women’s Cinema: Transnational Contexts (2011), edited by Lingzhen Wang, contains three chapters on Taiwanese Women directors/writers, including Sylvia Chang and Chu Tien-wen.

Among the books in “The New Hong Kong Cinema Series” of Hong Kong University Press, Stephen Teo’s King Hu’s A Touch of Zen (2007) is a must in understanding this masterwork in Taiwan film history. Two other anthologies edited by Chris Berry contain chapters that detail important Taiwan films, namely Chinese Films in Focus: 25 New Takes (2003) and Chinese Films in Focus II (2008). Jerome Silbergeld’s Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China’s Moral Voices (2004) spends one of its three chapters on the use of metaphoric imagery in Hou’s Good Men, Good Women.

Regarding Taiwan cinema during the Japanese colonial rule between 1895 and 1945, very few books in English are available for reference. Michael Baskett’s The Attractive Empire: Transnational Film Culture in Imperial Japan (2008) discusses film activities in colonial Taiwan in conjunction with those of Korea (Chosen) and Manchuria (Manchukuo). Taiwan cinema is briefly mentioned in Isolde Standish’s A New History of Japanese Cinema: A Century of Narrative Film (2006). Peter B. High’s The Imperial Screen: Japanese Film Culture in the Fifteen Years’ War, 1931-1945 (2003) also mentions Taiwan cinema and films related to colonial Taiwan in passing.

Jeremy E. Taylor’s Rethinking Transnational Chinese Cinema: The Amoy-dialect Film Industry in Cold War Asia (2011) is a rare book that focuses on the cultural, political and economic significance of the Amoy-dialect film industry that emerged in the 1950s, producing cheap films for export to Taiwan and Southeast Asia.

The only academic journal that frequently focuses on Taiwan cinema is Journal of Chinese Cinemas (JCC). Published three times a year by Intellect since 2007, the journal is edited by Song Hwee Lim and Julian Ward in Great Britain. The second issue of JCC was a special issue on Tsai Ming-liang, and Vol. 4, No. 3 (2010) was on Taiwan films made during the “missing period” in Chinese cinema studies (i.e., 1949-1979), between the end of World War II and the emergence of Taiwan New Cinema. Asian Cinema, the publication of the Asian Cinema Studies Society, occasionally publishes scholarly articles on Taiwan cinema. Osian’s Cinemaya (formerly Cinemaya: The Asian Film Quarterly), published in India, provides extensive coverage of Asian (including Taiwan) films. Other periodicals that occasionally publish articles on Taiwan cinema and reviews of Taiwan films include Cinema Journal (Society for Cinema & Media Studies), Film Quarterly, Film Comment, CineAction, Sight and Sound, and PAJ: A Journal of Performance and Art.

A Companion to Chinese Cinema (2012), of the Wiley-Blackwell “Companions to National Cinemas Series,” edited by Yingjin Zhang, is one of the few encyclopedias. A second one, Encyclopedia of Chinese Film (1999), edited by Yingjin Zhang and Zhiwei Xiao, provides entries on directors, genres, themes, actors and actresses from Mainland China, Hong Kong, and Taiwan, as well as 250 film synopses, with a substantial historical overview of Chinese cinema. Jeff Yang’s Once Upon a Time in China: A Guide to Hong Kong, Taiwan, and Mainland Chinese Cinemas (2003) is a journalistic look at some 300 Chinese films, especially martial arts and action movies made in Hong Kong and Taiwan.

The most resourceful website for information regarding Taiwan cinema is www.taiwancinema.com, operated by the Department of Motion Picture Affairs in the Government Information Office (GIO). Taiwan cinema is also searchable on GIO’s own website (www.gio.gov.tw). Two other recommended sources are IMDb (www.imdb.com), and the Hong Kong Movie Database (www.hkmdb.com); both contain a quite complete database for searching Taiwan films. Chinese Movie Database (www.dianying.com), however, contains incomplete information regarding Taiwan movies. Another website that offers an even more incomplete list of films from Taiwan is through Wiki (en.wikipedia.org/wiki/list_of_taiwanese_films), and one that has information on certain Taiwan films of the past decade, with links to film reviews and trailers (www.taiwanderful.net/guides/taiwan-s-movie-guide).

Senses of Cinema” and “Screening the Past” are two online film journals that, from time to time, present articles on Taiwan cinema. “Taiwan Panorama” (www.taiwanpanorama.com.tw) and “Taiwan Review” (http://taiwanreview.nat.gov.tw) are two online databases that offers articles from GIO-published magazines, which publishes many articles on Taiwan cinema. MCLC Resource Center – Media (mclc.osu.edu/rc/filmbib.htm) provides a bibliography of Chinese film (Taiwan included). Britannica online encyclopedia and Wikipedia are also useful to find information on the films and filmmakers of Taiwan cinema.

A list of important books in Chinese is also provided to help those who know the language. The list includes books on the film histories of various periods; memoirs of important personalities, and books based on interviews with filmmakers, including producers, directors, actors, and technicians (such as cinematographer, editor, and sound designer); and cinema studies on particular topics, such as Taiwan New Cinema, documentaries, women’s films, Taiwanese-dialect films, and music films, as well as on the films of major directors, including Hou Hsiao-hsien, Edward Yang, Ang Lee, and Tsai Ming-liang.

 

 

Reference Works

Carson, Diane. “Chinese Film: Sources and Resources.” Cinema Journal 34, 4 (Summer 1995): 83-88.

Eberhard, Wolfram. The Chinese Silver Screen: Hong Kong & Taiwanese Motion Pictures in the 1960’s. Taipei: Orient Cultural Service, 1972.

Lent, John, ed. Animation in Asia and the Pacific. Bloomington: Indiana University Press, 2001.

──. The Asian Film Industry. Austin: University of Texas Press, 1990.

──, ed.. Asian Popular Culture. Boulder, Colo.: Westview Press, 1996.

Stokes, Lisa Odham, et al. Historical Dictionary of Hong Kong Cinema. Lanham, Md.: Scarecrow Press, 2007.

Yang, Jeff. Once Upon a Time in China: A Guide to Hong Kong, Taiwanese, and Mainland Chinese Cinema. New York: Simon and Schuster, 2003.

Ye, Tan. Historical Dictionary of Chinese Cinema. Lanham, Md.: Scarecrow Press, 2012.

Zhang, Yingjin. A Companion to Chinese Cinema. Hoboken, NJ: Wiley-Blackwell, 2012.

Zhang, Yingjin and Xiao Zhiwei, eds. Encyclopedia of Chinese Films. London: Routledge, 1998.

Documentary

Chiu, Kuei-fen. “Taiwan and Its Spectacular Others: Aesthetic Reflexivity in Two Documentaries by Women Filmmakers from Taiwan.” Asian Cinema 16, 1 (Spring/Summer 2005): 98-107.

──. “The Vision of Taiwanese new documentary.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 17-32.

Kuo, Li-hsin. “Observations of Contemporary Taiwanese Documentary Films.” in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 107-113.

Lee, Daw-Ming. “A Preliminary Study of the Market for Documentaries in Taiwan.” Asian Cinema 20, 2 (Fall/Winter 2009): 68-82.

──. “Re/Making Histories: On Historical Documentary Film and Taiwan: A People’s History.” in Sylvia Li-chun Lin and Tze-Lan Deborah Sang, eds. Documenting Taiwan on Film: Issues and Methods in New Documentaries: 11-37.

Lin, Sylvia Li-chun. “Between Past and Future: Documentary Films on the 2/28 Incident in Taiwan.” Modern Chinese Literature and Culture 21, 1 (Spring 2009): 46-71.

Lin, Sylvia Li-chun and Tze-Lan Deborah Sang, eds. Documenting Taiwan on Film: Issues and Methods in New Documentaries. London: Routledge, 2012.

Skaya, Silku. “Aborigine cinema in Taiwan: looking at oneself and others.” in N Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 144-149.

Environment

Braester, Yomi. “If We Could Remember Everything, We Would Be Able to Fly: Taipei's Cinematic Poetics of Demolition.” Modern Chinese Literature and Culture 15, 1 (Spring 2003): 29-62.

──. “The impossible task of Taipei films.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 51- 59.

──. “Shards of Memory: Papa Can you Hear Me Sing? and the Demolished Spaces of Taiwan Urban Cinema.” Conference Paper, Remapping Taiwan (UCLA, Oct. 13-15, 2000).

──. “Tales of a Porous City: Public Residences and Private Streets in Taipei Films.” In Charles Laughlin, ed. Contested Modernity in Chinese Literature: 157-170.

Braester, Yomi and James Tweedie, eds. Cinema at the City’s Edge: Film and Urban Networks in East Asia. Hong Kong: Hong Kong University Press, 2010.

Horng, Menghsin C. “Domestic Dislocations: Healthy Realism, Stardom, and the Cinematic Projection of Home in Postwar Taiwan.” Journal of Chinese Cinemas 4, 1 (2010): 27-43.

Kuo, Wei-shiung. “The Taiwanese high mountains as reflected by film-makers’ magical mirrors.” in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 71-77.

Lin, Wenchi. “Taipei at the Turn of the Century in Taiwan Cinema.” in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 221-227.

Lu, Sheldon H. and Jiayan Mi, eds. Chinese Ecocinema: In the Age of Environmental Challenge. Hong Kong: Hong Kong University Press, 2009.

Tweedie, James. “Morning in the new metropolis: Taipei and the globalization of the city film.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 116-130.

Wilson, Flannery. “Filming Disappearance or Renewal? The Ever-Changing Representations of Taipei in Contemporary Taiwanese Cinema.” Senses of Cinema 59 (2011). (http://www.sensesofcinema.com/2011/feature-articles/filming –disappearance-or-renewal-the-ever-changing-representations-of-taipei-in-contemporary-taiwanese-cinema/)

Film History

Chiao, Peggy. “Trans-Chinese Cinemas: Past and Present.” Osian’s Cinemaya 1, 3 (2006): 36-40.

Deslandes, Jeanne (with Penny Lin, Kelly Chu-Chun Fan, and Lucia Tai-Yun Cheng). "Dancing Shadows of Film Exhibitions: Taiwan and the Japanese Influence." Screening the Past (Nov. 2000). (http://www.latrobe.edu.au/screeningthepast/ firstrelease/fr1100/jdfr11g.htm)

High, Peter B. The Imperial Screen: Japanese Film Culture in the Fifteen Years’ War, 1931-1945. Madison: University of Wisconsin Press, 2003.

Hong, Guo-Juin. “Historiography of Absence: Taiwan Cinema before New Cinema 1982.” Journal of Chinese Cinemas 4, 1 (2010): 5-14.

──. Taiwan Cinema: A Contested Nation on Screen. New York: Palgrave Macmillan, 2011.

Neri, Corrado. “A brief history of cinema in Taiwan.” in Neri, Corrado and Gormley, Kirstie, eds. Taiwan Cinema/Le cinéma taiwanais: 52-62.

Nowell-Smith, Geoffrey, ed. The Oxford History of World Cinema. Oxford: Oxford University Press.

Shih, Alice. “A Brief History of Taiwan’s Film Industry.” CineAction (Oct. 2011): 63-68.

Shih, Fang-long, Stuart Thompson, and Paul-Francois Tremlett, eds. Re-Writing Culture in Taiwan. London: Routledge, 2009.

Shih, Shu-mei. Visuality and Identity: Sinophone Articulations across the Pacific. Berkeley: University of California Press, 2007.

Standish, Isolde. A New History of Japanese Cinema: A Century of Narrative Film. New York: Continuum International, 2006.

Filmmakers and Their Films

Anderson, John. Edward Yang. Urbana: University of Illinois Press, 2005.

Austerlitz, Saul. “Edward Yang.” Cineaste 31, 2 (Spring 2006): 77-78, 61.

Bao, Weihong. “Biomechanics of Love: Reinventing the Avant-Garde in Tsai Ming-liang’s Wayward ‘Pornographic Musical’.” Journal of Chinese Cinemas 1, 2 (2007): 139-160.

Barton, David. “Clepsydra: The Fluid Melancholy of What Time Is It There.” Asian Cinema 19, 2 (Fall/Winter 2008): 281-291.

Berry, Chris. “Betelnut Beauty.” Cinemaya (Autumn 2001): 29-30.

──, ed. Chinese Films in Focus: 25 New Takes. London: British Film Institute, 2003.

──, ed. Chinese Films in Focus II. New York: Palgrave Macmillan, 2008.

──. “The Chinese Side of the Mountain.” Film Quarterly 60, 3 (Spring 2007): 32-37.

──. “Haunted Realisms: Postcoloniality and the Cinema of Chang Tso-chi.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 33-50.

──. “Wedding Banquet: A Family (Melodrama) Affair.” in Chris Berry, ed. Chinese Films in Focus: 25 New Takes: 160-166.

──. “Where Is the Love? Hyperbolic Realism and Indulgence in Vive L’Amour.”  in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 89-100.

Berry, Michael, ed. Speaking in Images: Interviews with Contemporary Chinese Filmmakers. New York: Columbia University Press, 2005.

Biro, Yvette. “Tender is the Regard: I Don’t Want to Sleep Alone and Still Life.” Film Quarterly 61, 4 (Summer 2008): 34-40.

Bloom, Michelle. “Near Kisses: «L’Amour entre filles» in Taiwanese Cinema since 2000” in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 127-135.

Bordeleau, Erik. “Disappearing with Tsai Ming-liang.” in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 232-234.

Browne, Nick. “Hou Hsiao Hsien’s The Puppetmaster: The Poetics of Landscape.” in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 79-88.

Chan, Felicia. “Crouching Tiger, Hidden Dragon: Cultural Migrancy and Translatability.” in Chris Berry, ed. Chinese Films in Focus: 25 New Takes: 56-64.

Chan, Kenneth. “Goodbye, Dragon Inn: Tsai Ming-liang’s Political Aesthetics of Nostalgia, Place, and Lingering.” Journal of Chinese Cinemas 1, 2 (2007): 89-103.

Chang, Bryan, and Li Cheuk-to, eds. The One and Only Edward Yang. Hong Kong: Hong Kong International Film Festival Society, 2008.

Chang, Kai-man. “Drifting Bodies and Flooded Spaces: Visualizing the Invisibility of Heteronormativity in Tsai Ming-liang’s The River.” Post Script 28, 1 (Fall 2008): 45-62.

──. “Gender Hierarchy and Environmental Crisis in Tsai Ming-liang’s The Hole.” Film Criticism 33, 1 (Fall 2008): 25-44.

Chang, Sung-sheng Yvonne. “The Terrorizer and the Great Divide in Contemporary Taiwan’s Cultural Development.” in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 13-26.

Chen, Kuan-Hsing. “A Borrowed Life in Banana Paradise: De-Cold War/ Decolonization, or Modernity and Its Tears.” in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 39-54.

Chen, Ru-Shou Robert. “‘This isn’t real!’ Spatialized narration and (in)visible special effects in Double Vision.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 108-115.

Cheshire, Ellen. Ang Lee (Pocket Essentials). Chicago: Trafalgar Square Publishing, 2001.

Cheshire, Godfrey. “Time Span. The Cinema of Hou Hsiao-Hsien.” Film Comment 29, 6 (November/December 1993): 56-63.

Chi, Robert. “Exhibitionism: ’Lust, Caution’.” Journal of Chinese Cinemas 3, 2 (2009): 177-187.

──. “Getting It on Film: Representing and Understanding History in A City of Sadness.” Tamkang Review 29, 4 (Summer 1999): 47-84.

Chua, Siew Keng. “An Interview with Hou Hsiao-hsien.” Cinemaya 15 (1992): 9.

Clarke, Roger. “The Incomplete Tsai Ming-Liang.” Sight & Sound 17, 12 (December 2007): 22-26.

Clover, Joshua. “The New World System.” Film Quarterly 66, 4 (Summer 2008): 6-7.

Dariotis, Wei Ming and Eileen Fung. “Breaking the Soy Sauce Jar: Diaspora and Displacement in the Films of Ang Lee.” in Sheldon Hsiao-peng Lu, ed. Transnational Chinese Cinema: Identity, Nationhood, Gender: 187-220.

Davis, Darrell William. “Borrowing Postcolonial: Wu Nianzhen’s Dou-san and the Memory Mine.” in Sheldon H. Lu and Emilie Yueh-yu Yeh, eds. Chinese-Language Film: Historiography, Poetics, Politics: 237-266.

Dilley, Whitney Crothers. The Cinema of Ang Lee: The Other Side of the Screen. London: Wallflower Press, 2007.

Edwards, Danniel. “The Cracks That Let In the Light: A Day with Christopher Doyle.” Metro 135 (2003): 163-165.

Farquhar, Mary. “A Touch of Zen: Action in Martial Arts Movies.” in Chris Berry, ed. Chinese Films in Focus: 25 New Takes: 167-174.

Farquhar, Mary and Yingjin Zhang, eds. Chinese Film Stars. New York: Routledge, 2010.

Gnanalingam, Brannavan. “‘Edward Yang’: A Country’s Confusion.” Illusions 40 (Winter 2008): 33-34.

Haddon, Rosemary. “Hou Hsiao Hsien’s City of Sadness: History and the Dialogic Female Voice.” in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 55-66.

Hampton, Howard. “Slow Train Coming: Who’s Afraid of Hou Hsiao-hsien?” Film Comment 42, 4 (July/August 2006): 32-36.

──. “Venus, Armed, Brigitte Lin’s Shanghai Gesture.” Film Comment 32, 5 (September/October 1996): 42-46, 48.

Hillenbrand, Margaret. “The Personals: Backward Glances, Knowing Looks and the Voyeur Film.” in Chris Berry, ed. Chinese Films in Focus II: 175-181.

Holmlund, Christine and Justin Wyatt, eds. Contemporary American Independent Film: From the Margins to the Mainstream. London: Routledge, 2004.

Hou, Hsiao-hsien. “In Search of New Genres and Directions for Asian Cinema.” (Translated, Edited and Introduced by Lin Wenchi) Rouge 1 (2003).

Hu, Brian. “Formula 17: Mainstream in the Margins.” in Chris Berry, ed. Chinese Films in Focus II: 121-127.

──. “Formula 17: Testing a Formula for Mainstream Cinema in Taiwan.” Senses of Cinema 34 (January-March 2005). (http://www.sensesofcinema.com/2005/feature- articles/formula_17/)

James, Nick. “Cruel Intentions: Ang Lee.” Sight & Sound 18, 1 (January 2008): 46-50.

Kaldis, Nick. “Compulsory Orientalism: Hou Hsiao Hsien’s Flowers of Shanghai.” in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 127-136.

──. “Monogamorphous Desires, Faltering Forms: Structure, Content, and Contradiction in The Personals (Zhenghun qishi) (Taiwan, 1998).” Asian Cinema 15, 1 (Spring/Summer 2004): 37-56.

Klein, Christina. “‘Crouching Tiger, Hidden Dragon’: A Diasporic Reading.” Cinema Journal, 43, 4 (Summer 2004): 18-42.

Koc, Aysegul. “Vive le Cinema: A Reading of What Time Is It There.” CineAction 62 (October 2003): 54-57.

Kowallis, Jon. “The Diaspora in Postmodern Taiwan and Hong Kong Film: Framing Stan Lai's The Peach Blossom Land with Allen Fong's Ah Ying.” in Sheldon Hsiao-peng Lu, ed. Transnational Chinese Cinema: Identity, Nationhood, Gender: 169-186.

Kraicer, Shelly. “Edward Yang: A Taiwanese Independent Filmmaker in Conversation.” CineAction 47 (September 1998): 48-55.

Lee, Leo Ou-fan. “Ang Lee’s ‘Lust, Caution’ and Its Reception.” Boundary 2, 35, 3 (Fall 2008): 223-238.

Leung, William. “Sex, China and Propaganda: Ang Lee’s Lust Caution.” Metro 156 (2008): 50-55.

Li, David Leiwei. “Yi Yi: Reflections on Reflexive Modernity in Taiwan.” in Chris Berry, ed. Chinese Films in Focus: 25 New Takes: 198-205.

Liao, Chaoyang. “Borrowed Modernity: History and the Subject in A Borrowed Life.” in Xudong Zhang and Arif Dirlik, eds. Postmodernism and China: 275-293.

Liao, Ping-hui. “Passing and Re-articulation of Identity: Memory, Trauma, and Cinema.” Tamkang Review 29, 4 (Summer 1999): 85-114.

Lim, Song Hwee. “Positioning Auteur Theory in Chinese Cinemas Studies: Intratextuality, Intertextuality and Paratextuality in the Films of Tsai Ming-liang.” Journal of Chinese Cinemas 1, 3 (2007): 223-245.

Liu, Yu-hsiu. “A Myth(ology) Mythologizing Its Own Closure: Edward Yang’s A Brighter Summer Day.” in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 67-78.

Liu, Yung Hao. “‘I thought of the times we were in front of the flowers’: analyzing the opening credits of Goodbye Dragon Inn.” (Translated by Ming-yu Lee) in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 172-182.

Lowenstein, Stephen, ed. My First Movie: Twenty Celebrated Directors Talk About Their First Film. New York: Penguin, 2002.

Lu, Feii. "Another Cinema: Darkness and Light.” in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 137-148.

Lu, Sheldon H. “Crouching Tiger, Hidden Dragon, Bouncing Angels: Hollywood, Taiwan, Hong Kong, and Transnational Cinema.” in Sheldon H. Lu and Emilie Yueh-yu Yeh, eds. Chinese-Language Film: Historiography, Poetics, Politics: 220-236.

Lupke, Christopher. “The Muted Interstices of Testimony: ‘A City of Sadness’ and the Predicament of Multiculturalism in Taiwan.” Asian Cinema 15, 1 (Spring/ Summer 2004): 5-36.

Ma, Jean. “Doubled Lives, Dissimulated History: Hou Hsiao-hsien’s Good Men, Good Women.” Post Script 22, 3 (Summer 2003): 21-33.

──. Melancholy Drift: Marking Time in Chinese Cinema. Hong Kong: Hong Kong University Press, 2010.

──. “Tsai Ming-liang’s Haunted Movie Theater.” in Rosalind Galt and Karl Schoonover, eds. Global Art Cinema: New Theories and Histories: 334-350.

Marchetti, Gina. “Guests at The Wedding Banquet: the cinema of the Chinese diaspora and the rise of the American independents.” In Christine Holmlund and Justin Wyatt, eds. Contemporary American Independent Film: From the Margins to the Mainstream: 182-196.

──. “Hollywood/Taiwan: Connections, Countercurrents, and Ang Lee’s Hulk.” Film International 12 (2004): 42-51.

──. “On Tsai Mingliang’s The River.” in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 113-126.

──. “Taiwanese Triads in the Transnational Imagination.” Film International 9 (2004): 28-41.

──. “The Wedding Banquet: Global Chinese Cinema and The Asian American Experience.” in Julie F. Codell, ed. Genre, Gender, Race and World Cinema: 289-312.

Martin, Fran. “Vive L’Amour: Eloquent Emptiness.” in Chris Berry, ed. Chinese Films in Focus: 25 New Takes: 160-166.

Meng, Victoria. “Edward Yang.” Film Quarterly 61, 2 (Winter 2008): 82-83.

Neri, Corrado. “A Time to Live, A Time to Die: A Time to Grow.” in Chris Berry, ed. Chinese Films in Focus: 25 New Takes: 160-166.

Niskanen, Eija. “Tsai Ming-liang Delves Into Japanese AV-Culture.” Film International 4, 19 (2006): 70-73.

Nordin, Kenneth D. “Shadow Archetypes in Ang Lee’s Crouching Tiger, Hidden Dragon and The Hulk: A Jungian Perspective.” Asian Cinema 15, 2 (Fall/Winter 2004): 120-132.

Ogawa, Shota. “Hou Hsiao-hsien in Japan: From Taiwan Trilogy to Café Lumière.”  in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 161-168.

Rapfogel, Jared. “Taiwan’s Poet of Solitude: An Interview with Tsai Ming-liang.” Cineaste 29, 4 (Fall 2004):.26-29.

Rayns, Tony. “It’s All About Trust.” Cinema Papers 111 (August 1996): 29-33, 62-63.

Rist, Peter. “King Hu: experimental, narrative filmmaker.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 161-171.

Rodriguez, Héctor. “Questions of Chinese Aesthetics: Film Form and Narrative Space in the Cinema of King Hu.” Cinema Journal 38, 1 (Fall 1998): 73-97.

Shen, Shiao-Ying. “A Morning in Taipei: Bai Jingrui’s Frustrated Debut.” Journal of Chinese Cinemas 4, 1 (2010): 51-56.

Shiau, Hong-Chi. “Spectatorships, Pleasures, and Social Uses of Cinema: A Tentative Study of the Reception of Cape No 7.” Asian Cinema 20, 1 (Spring/Summer 2009): 189-202.

Silbergeld, Jerome. Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice. Seattle: University of Washington Press, 2004.

Sklar, Robert. “The Engineer of Modern Perplexity: An Interview with Edward Yang.” Cineaste 26, 1 (December 2000): 6-8.

──. “Hidden History, Modern Hedonism: The Films of Hou Hsiao-hsien.”  Cineaste 27, 4 (Fall 2002): 11.

Smith, Ian Haydn. “Ang Lee.” in Yvonne Tasker, ed. Fifty Contemporary Filmmakers: 227-235.

Snowberger, Beth. “A Realization of Harmony: Yin-yang Theory in Grandma and Her Ghosts.” Asian Cinema 16, 2 (Fall/Winter 2005): 155-162.

Stephens, Chuck. “I Don’t Want to Sleep Alone.” Film Comment 43, 3 (May/June 2007): 70-71.

──. “Intersection: Tsai Ming-liang’s Yearning Bike Boys and Heartsick Heroines.” Film Comment 32, 5 (September/October 1996): 20-23.

Szeto, Kin-Yan. The Martial Arts Cinema of the Chinese Diaspora: Ang Lee, John Woo, and Jackie Chan in Hollywood. Carbondale: Southern Illinois University Press, 2011.

Su, Chiaoning. “Beyond South of the Border: A Texual Analysis of the Taiwanese Blockbuster Cape No. 7.” Asian Cinema 20, 1 (Spring/Summer 2009): 176-188.

Teo, Stephen. King Hu’s A Touch of Zen. Hong Kong: Hong Kong University Press, 2007.

Tessier, Max. “Hsu Feng: Steel in Velvet.” Cinemaya 15 (1992): 13-15.

Tong, Ching-Siu. “Edward Yang: From Confrontation at the Table to War between the Sexes.” (Translated by Carmen Ting) in Bryan Chang and Li Cheuk-to, eds. The One and Only Edward Yang: 100-103.

Trice, Jasmine Nadua. “Diseased Bodies and Domestic Space: Transmodern Space in Tsai Ming-liang’s The Hole.” Asian Cinema 16, 2 (Fall/Winter 2005): 255-267.

Tsai, Eva. “Kaneshiro Takeshi: Transnational Stardom and the Media and Culture Industries in Asia's Global/Postcolonial Age.” Modern Chinese Literature and Culture 17, 1 (Spring 2005): 100-32.

Udden, James. No Man an Island: The Cinema of Hou Hsiao-hsien. Hong Kong: Hong Kong University Press, 2009.

──. “‘This time he moves!’: the deeper significance of Hou Hsiao-hsien’s radical break in Good Men, Good Women.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 193-202.

Walsh, Mike. “Directing with an Open Heart: An Interview with Yee Chih-yen.” Metro 135 (2003): 154-156.

──. “‘I Make Film I Feel Proud of’: Peggy Chiao and the New Chinese Cinema.” Metro 148 (2006): 62-65.

Wang, Chialan Sharon. “Cape No. 7 and Taiwan’s National Consciousness.” Asian Cinema 20, 2 (Fall/Winter 2009): 244-259.

Wang, George Chun Han. “King Hu and Run Run Shaw: the clash of two cinema legends.” Journal of Chinese Cinemas 4, 2 (2010): 127-142.

Wang, Tung. "Banana Paradise." Cinemaya 12 (1991): 52-53.

Wang, Ying-bei. “Love Letters from the Colonizer: The Cultural Identity Issue in Cape No. 7.” Asian Cinema 20, 2 (Fall/Winter 2009): 260-271.

Wei, Ti. “Generational/Cultural Contradiction and Global Incorporation: Ang Lee’s Eat Drink Man Woman.” in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 101-112.

Wicks, James. “Two Stage Brothers: Tracing a Common Heritage in Early Films by Xie Jin and Li Xing.” Modern Chinese Literature and Culture 12, 1 (Spring 2009): 174-212.

Williams, Tony. “Brigitte Lin Ching Hsia: Last Eastern Star of the Late Twentieth Century.” Journal of Chinese Cinemas 2, 2 (2008): 147-157.

──. “The Road to Invincible Asia: Brigitte Lin Ching-hsia's Taiwanese Films.” Asian Cinema 19, 1 (Spring/Summer 2008): 1-31.

Wong, Ain-ling, ed. Li Han-hsiang, Storyteller. Hong Kong: Hong Kong Film Archive, 2007.

Wong, Ain-ling, Kwok Ching-ling and May Ng, eds. Chang Cheh: A Memoir. Hong Kong: Hong Kong Film Archive, 2004.

Wong, Edmond K.Y. “Edward Yang: the Urban Observer in the Modernizing World.” (Translated by King-fai Tam) in Bryan Chang and Li Cheuk-to, eds. The One and Only Edward Yang: 10-12.

Wood, Chris. “Realism, Intertextuality and Humour in Tsai Ming-liang’s Goodbye, Dragon Inn.Journal of Chinese Cinemas 1, 2 (2007):105-116.

Wood, Robin. “On and around Brokeback Mountain.” Film Quarterly 60, 3 (Spring 2007): 28-31.

──. “Vive l’Amour.” CineAction 79 (2009): 17-20.

Wu, I-Fen. “Looking for Nostalgia: Memory and National Identity in Hou Hsiao-Hsien’s A Time to Live, A Time to Die.” CineAction 60 (February 2003): 45-51.

──. “Remapping Ozu’s Tokyo?: The Interplay Between History and Memory in Hou Hsiao-hsien’s Café Lumiere.” Asian Cinema 19, 1 (Spring/Summer 2008): 172-181.

Xu, Gang Gary. “Flowers of Shanghai: Visualising Ellipses and (Colonial) Absence.” in Chris Berry, ed. Chinese Films in Focus: 25 New Takes: 104-110.

Yang, Kelly. “Under the Flickering Lights: On the Sudden Discovery of The Joy of Futility.” (Translated by King-fai Tam) in Bryan Chang and Li Cheuk-to, eds. The One and Only Edward Yang: 104-107.

Yeh, Emilie Yueh-yu. “Poetics and Politics of Hou Hsiao-hsien’s Films.” in Sheldon H. Lu and Emilie Yueh-Yu Yeh, eds. Chinese-Language Film: Historiography, Poetics, Politics: 163-185.

Yip, June. “Constructing a Nation: Taiwanese History and the Films of Hou Hsiao-hsien.” in Sheldon Hsiao-peng Lu, ed. Transnational Chinese Cinema: Identity, Nationhood, Gender: 139-168.

Zhang, Zen. “Migrating Hearts: The Cultural Geography of Sylvia Chang’s Melodrama.” in Lingzhen Wang, ed. Chinese Women's Cinema: Transnational Contexts: 88-112.

Gender

Chan, Kenneth. “Tactics of Tears: Excess/Erasure in the Gay Chinese Melodramas of Fleeing by Night and Lan Yu.” Camera Obscura 23, 68 (2008): 140-166.

Chang, Chia-ju. “Putting Back the Animals: Woman-Animal Meme in Contemporary Taiwanese Ecofeminist Imagination.” in Sheldon H. Lu and Jiayan Mi, eds. Chinese Ecocinema: In the Age of Environmental Challenge: 255-270.

Chen, Ya-chen. Women in Chinese Martial Arts Films of the New Millennium: Narrative Analyses and Gender Politics. Lanham, Md.: Lexington Books, 2012.

Codell, Julie F., ed. Genre, Gender, Race and World Cinema. Hoboken, N.J.: Wiley-Blackwell, 2006.

Garrett, Daniel. “Brokeback Mountain: You Don’t Know What Love Is.” Film International 4, 21 (2006): 48-67.

Ho, Aaron K. H. “The Lack of Chinese Lesbians: Double Crossing in Blue Gate Crossing.” Genders 49 (2009). (http://www.genders.org/g49/g49_ho.html)

Huang, Yu-shan and Chun-chi Wang. “Post-Taiwan New Cinema Women Directors and Their Films: Auteurs, Images, Language.” (Translated by Robin Visser and Thomas Moran) in Lingzhen Wang, ed. Chinese Women's Cinema: Transnational Contexts: 132-153.

Lee, Vivian. “Pornography, Musical, Drag, and the Art Film: Performing ‘Queer’ in Tsai Ming-liang’s The Wayward Cloud.Journal of Chinese Cinemas 1, 2 (2007): 117-137.

Leung, William. “Crouching Sensibility, Hidden Sense.” Film Criticism 26, 1 (Fall 2001): 42-55.

Levitin, Jacqueline. “Crouching Tiger Hidden Dragon, Hero, and House of the Flying Daggers: Interpreting Gender Thematics in the Contemporary Swordplay Film – A View From the West.” Asian Cinema 17, 1 (Spring/Summer 2006): 166-182.

Lim, Song Hwee. “Celluloid Comrades: Male Homosexuality in Chinese Cinemas of the 1990s.” China Information 16, 1 (2002): 68-88.

──. Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinema. Honolulu: University of Hawai'i Press, 2006.

──. “Contesting Celluloid Closets: Representing Male Homosexuality in Chinese Cinemas.” Tamkang Review 33, 2 (Winter 2002): 55-75.

Lupke, Christopher. “Chu T’ien-wen and the Sotto Voce of Gendered Expression in the Films of Hou Hsiao-hsien.” in Lingzhen Wang, ed. Chinese Women's Cinema: Transnational Contexts: 274-292.

Martin, Fran. Backward Glances: Contemporary Chinese Cultures and the Female Homoerotic Imaginary. Durham, N.C.: Duke University Press, 2010.

──. “The China Simulacrum: Genre, Feminism, and Pan-Chinese Cultural Politics in Crouching Tiger, Hidden Draggon.” in Berry, Chris and Lu, Feii, eds. Island on the Edge: Taiwan New Cinema and After: 149-159.

──. Situating Sexualities: Queer Representations in Taiwanese Fiction, Film and Public Culture. Hong Kong: University of Hong Kong Press, 2003.

──. “Taiwan (trans)national cinema: the far-flung adventures of a Taiwanese tomboy.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 95-107.

Shen, Shiao-Ying. “Locating Feminine Writing in Taiwan Cinema: A Study of Yang Hui-shang's Body and Sylvia Chang's Siao Yu.” in Sheldon H. Lu and Emilie Yueh-Yu Yeh, eds. Chinese-Language Film: Historiography, Poetics, Politics: 267-279.

Sheng, Virginia. “The Father Figure of Taiwan Film.” Free China Review (Feb. 1995): 20-23.

Tam, Kwok-kan and Terry Siu-han Yip, eds. Gender, Discourse and the Self in Literature: Issues in Mainland China, Taiwan and Hong Kong. Hong Kong: Chinese University Press, 2009.

Tan, See-Kam and Annette Aw. “The Love Eterne: Almost a (Heterosexual) Love Story.” in Chris Berry, ed. Chinese Films in Focus: 137-143.

Wang, Lingzhen, ed. Chinese Women's Cinema: Transnational Contexts. New York: Columbia University Press, 2011.

General Studies

Aufderheide, Pat. “Oriental Insurgents” Film Comment 23, 6 (November 1987): 73-76, 80.

Arnold, Darren. “Crouching Tiger, Hidden Influences.” Metro 129-130 (2001): 180-186.

Baskett, Michael. The Attractive Empire: Transnational Film Culture in Imperial Japan. Honolulu: University of Hawaii Press, 2008.

Berry, Chris. “If China Can Say No, Can China Make Movies? Or, Do Movies Make China? Rethinking National Cinema and National Agency.” Boundary 2, 25, 2 (Fall 1998): 129-50.

──, ed. Perspectives on Chinese Cinema. London: British Film Institute, 1991.

──. “Re-writing Cinema: Markets, Languages, Cultures in Taiwan.” In Fang-long Shih, Stuart Thompson, and Paul-Francois Tremlett, eds. Re-Writing Culture in Taiwan: 140-153.

Berry, Chris and Mary Farquhar. China on Screen: Cinema and Nation. Hong Kong: Hong Kong University Press, 2006.

──. “From National Cinemas to Cinema and the National: Rethinking the National in Transnational Chinese Cinemas.” Journal of Modern Literature in Chinese 4, 2 (2001): 109-22.

Berry, Chris, Nicola Liscutin and Jonathan D. Mackintosh, eds. Cultural Studies and Cultural Industries in Northeast Asia: What a Difference a Region Makes. Hong Kong: Hong Kong University Press, 2009.

Bordwell, David. "Transcultural Spaces: Toward a Poetics of Chinese Film." in Sheldon H. Lu and Emilie Yueh-yu Yeh, eds., Chinese-Language Films: Historiography, Poetics, Politics: 141-162.

Chan, Evans. “Chinese Cinema at the Millennium (Part One).” Asian Cinema 15, 1 (Spring/Summer 2004): 90-115.

Chan, Kenneth. "The Contemporary Wuxia Revival: Genre Remaking and the Hollywood Transnational Factor." in Lim, Song Hwee and Julian Ward, eds. The Chinese Cinema Book: 150-57.

──. “The Global Return of the Wu Xia Pian (Chinese Sword-Fighting Movie): Ang Lee’s ‘Crouching Tiger, Hidden Dragon’.” Cinema Journal 43, 4 (Summer 2004): 3-17.

──. Remade in Hollywood: The Global Chinese Presence in Transnational Cinemas. Hong Kong: Hong Kong University Press, 2009.

Chang, Hsiao-hung. "The unbearable lightness of globalization: on the transnational flight of wuxia film." in Davis, Darrell William and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 95-107.

Chen, Ru-Shou Robert. “Bazin At Work: The Concept of Realism in Chinese-language Films.” Journal of Chinese Cinemas 4, 1 (2010): 57-64.

Chiao, Peggy [Hsiung-ping]. “Great Change in a Vast Ocean: Neither Tragedy nor Joy.” Performing Arts Journal 17, 2/3 (May/September, 1995): 13-54.

Chiao, [Peggy] Hsiung-ping. “‘Trafficking’ in Chinese Films.” Modern Chinese Literature 7, 2 (1993): 97-101.

Chiu, Kuei-fen. “The Question of Translation in Taiwanese Colonial Cinematic Space.” Journal of Asian Studies 70, 1 (2011): 77-97.

Chong, Woei Lien, “Taiwan Cinema at the 1997 International Rotterdam Film Festival: Comedy and Small-Scale Family Drama.” China Information 11, 4 (Spring 1997): 105-116.

Chow, Rey. Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visuality. New York: Columbia University Press, 2007.

Comer, Brooke. “Eat Drink Man Woman: A Feast for the Eyes.” American Cinematographer 76, 1 (January 1995): 62-67.

Curtin, Michael. Playing to the World's Biggest Audience: The Globalization of Chinese Film and TV. Berkeley: University of California Press, 2007.

de La Serre, Sophie. “The esthetic of migration and identity crisis in contemporary Taiwanese cinema.” in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 200-210.

Deppman, Hsiu-Chuang. Adapted for the Screen: The Cultural Politics of Modern Chinese Fiction and Film. Honolulu: University of Hawaii Press, 2010.

Ferrari, Rossella. "Transnation/transmedia/transtext: Border-crossing from Screen to Stage in Greater China." Journal of Chinese Cinemas 2, 1 (2008): 53-67.

Fonoroff, P. “Orientation.” Film Comment 24, 3 (May/June 1988): 52-56.

Galt, Rosalind and Schoonover, Karl, eds. Global Art Cinema: New Theories and Histories. Oxford: Oxford University Press, 2010.

Gentz, Natascah and Stefan Kramer, eds. Globalization, Cultural Identities, and Media Representations. Albany: SUNY Press, 2006.

Ghermani, Wafa. “What is Taiwanese Cinema?” in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 20-28.

Hamamoto, Darrell and Sandra Liu. Countervisions: Asian American Film Criticism. Philadelphia, Pa.: Temple University Press, 2000.

Hill, John and Pamela Church Gibson, eds. The Oxford Guide to Film Studies. New York: Oxford University Press, 1998.

──. World Cinema: Critical Approaches. New York: Oxford University Press, 2000.

Kolatte, Matthieu. “How cinema reflects Taiwanese reality.” in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 179-185.

Kramer, Stefan. “Transcultural Narrations of the Local: Taiwanese Cinema Between Utopia and Heterotopia.” In Natascah Gentz and Stefan Kramer, eds. Globalization, Cultural Identities, and Media Representations: 45-58.

Laughlin, Charles, ed. Contested Modernity in Chinese Literature. New York: Palgrave Macmillan, 2005.

Lee, Tain-Dow. “Rereading the Cultural Significance of Taiwan’s Cinema of the 1990s.” Asian Cinema 7, 1 (Spring 1995): 3-11.

Lent, John A. “Taiwan’s Cuckoo’s Nest and the New Labor Situation.” Asian Cinema 14, 1 (Spring/Summer 2003): 90-106.

Lim, Song Hwee. "Six Chinese Cinemas in Search of a Historiography." in Song Hwee Lim and Julian Ward, eds. The Chinese Cinema Book: 35-45.

Lim, Song Hwee and Julian Ward, eds. The Chinese Cinema Book. London: BFI, 2011.

Lin, Wenchi. “More Than Escapist Romantic Fantasies: Revisiting Qiong Yao Films of the 1970s.” Journal of Chinese Cinemas 4, 1 (2010): 45-50.

Lo, Dennis. “Emergent National Discourses: Mythmaking and the National Story in Taiwanese Roadtrip Films.” Asian Cinema 21, 1 (Spring/Summer 2010): 86-112.

Lu, Sheldon H[siao-peng]. China, Transnational Visuality, Global Postmodernity. Stanford, Calif.: Stanford University Press, 2002.

──. “Chinese Cinemas (1896-1996) and Transnational Film Studies.” in Sheldon Hsiao-peng Lu, ed. Transnational Chinese Cinema: Identity, Nationhood, Gender: 1-34.

──, ed. Perspectives on Chinese Cinema. London: British Film Institute, 1991.

──, ed. Transnational Chinese Cinemas: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

Lu, Sheldon H[siao-peng] and Emilie Yueh-yu Yeh, eds. Chinese-Language Films: Historiography, Poetics, Politics. Honolulu: University of Hawaii Press, 2005.

Lu, Tonglin. Confronting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge University Press, 2002.

Ma, Sheng-mei. “Found(l)ing Taiwanese: from Chinese Fatherland to Japanese Okasan.” in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 247-255.

Marchetti, Gina. From Tiananmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997. Philadelphia, Pa.: Temple University Press, 2006.

Neri, Corrado and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais. Lyon: Asiexpo Edition, 2009.

Rayns, Tony. “Chaos and Anger.” Sight and Sound 4, 10 (October 1994): 12-15.

Schamus, James. “Aesthetic Identities: A Response to Kenneth Chan and Christina Klein.” Cinema Journal XLIII, 4 (Summer 2004): 43-52.

Shen, Shiao-Ying. “Where Has All the Capital Gone? The State of Taiwan's Film Investment.” Cinemaya 30 (Aug. 1995): 4-12.

Shiau, Hong-Chi. “Marketing Boys' Love: Taiwan's Independent Film, Eternal Summer, and Its Audiences.” Asian Cinema 19, 1 (Spring/Summer 2008): 157-71.

Tam, Kwok-kan and Wimal Dissanayake. New Chinese Cinema. New York: Oxford University Press, 1998.

Tan, See-kam, Peter X Feng, and Gina Marchetti, eds. Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia, Pa.: Temple University Press, 2009.

Tasker, Yvonne, ed. Fifty Contemporary Filmmakers. London: Routledge, 2002.

Teo, Stephen. Chinese Martial Arts Cinema: The Wuxia Tradition. Edinburgh: Edinburgh University Press, 2009.

Turner, George. “Harry Wolf in Taiwan.” American Cinematographer 68, 3 (March 1987): 77-78.

Wang, Shujen. Framing Piracy: Globalization and Film Distribution in Greater China. Lanham, Md.: Rowman and Littlefield, 2003.

Xu, Gang Gary. Sinascape: Contemporary Chinese Cinema. Lanham, Md.: Rowman & Littlefield, 2007.

Yau, Shuk-ting Kinnia, ed. East Asian Cinema and Cultural Heritage: From China, Hong Kong, Taiwan to Japan and South Korea. New York: Palgrave Macmillan, 2011.

Yeh, Emilie Yueh-yu. “The road home: stylistic renovations of Chinese Mandarin classics.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 203-216.

Yeh, Emilie Yueh-yu and Darrell William Davis. Taiwan Film Directors: A Treasure Island. New York: Columbia University Press, 2005.

Zhang, Yingjin. Chinese National Cinema. New York: Routledge, 2004.

──. “From Minority Film to Minority Discourse: Questions of Nationhood and Ethnicity in Chinese Film Studies.” Cinema Journal 36, 3 (Spring 1997): 73-90.

Zhang, Xudong and Arif Dirlik, eds. Postmodernism and China. Durham, N.C.: Duke University Press, 2000.

Politics

Berry, Michael. A History of Pain: Trauma in Modern Chinese Literature and Film. New York: Columbia University Press, 2008.

Chiu, Kuei-fen. “The Subaltern Woman's Voice and the (Film)making of Modern Taiwan.” In Tam, Kwok-kan and Terry Siu-han Yip, eds. Gender, Discourse and the Self in Literature: Issues in Mainland China, Taiwan and Hong Kong.: 165-183.

Hong, Guo-Juin. “Healthy Realism in Taiwan, 1964-80: Film Style, Cultural Policies and Mandarin Cinema.” in Lim, Song Hwee and Ward, Julian, eds. The Chinese Cinema Book: 95-102.

Liao, Ping-hui. “Rewriting Taiwanese National History: The February 28 Incident as Spectacle.” Public Culture 5 (1993): 281-296.

Lin, Sylvia Li-chun. Representing Atrocity in Taiwan: The 2/28 Incident and White Terror in Fiction and Film. New York: Columbia University Press.

Riep, Steven L. “Piecing Together the Past: The Notion of Recovery in Fiction and Film from Taiwan.” Modern China 37, 4 (July 2011))

Tam, Kwok-kan and Terry Siu-han Yip, eds. Gender, Discourse and the Self in Literature: Issues in Mainland China, Taiwan and Hong Kong. Hong Kong:  Chinese University of Hong Kong, 2010.

Wicks, James. “Projecting a State That Does Not Exist: Bai Jingrui’s Jia zai Taibei/Home Sweet Home.” Journal of Chinese Cinemas 4, 1 (2010): 15-26.

Yip, June. Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary. Durham, N.C.: Duke University Press, 2004.

Yue, Ming-Bao. “There Is No Place like Home: The Politics of Diasporic Identification in and around Taiwan Films of the 60s and 70s.” Postcolonial Studies 6, 2 (2003).

Taiwan New Cinema and Post-Taiwan New Cinema

Berry, Chris, and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After. Hong Kong: Hong Kong University Press, 2005.

Braester, Yomi. Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China. Stanford: Stanford University Press, 2003.

Browne, Nick, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau, eds. New Chinese Cinemas: Forms, Identities, Politics. Cambridge: Cambridge University Press, 1994.

Chen, Kuan-Hsing. “Taiwanese New Cinema.” in John Hill and Pamela Church Gibson, eds. World Cinema: Critical Approaches: 173-177.

Chiao, Peggy Hsiung-Ping. “The Distinct Taiwanese and Hong Kong Cinemas.” In Chris Berry, ed. Perspectives on Chinese Cinema: 155-165.

──. “The Emergence of the New Cinema of Taiwan.” Asian Cinema 5, 1 (1990): 9-11.

Davis, Darrell William. “Introduction: Cinema Taiwan, a civilizing mission?” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 1-13.

──. “Trendy in Taiwan: problems of popularity in the island's cinema.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 146-157.

Davis, Darrell William and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts. New York: Routledge, 2007.

Guest, Haden. “Reflections on the Screen: Hou Hsiao Hsien’s Dust In the Wind and the Rhythms of the Taiwan New Cinema.” in Chris Berry and Feii Lu, eds. Island on the Edge: Taiwan New Cinema and After: 27-38.

Havis, Richard James. “Big Changes Ahead for Taiwanese Cinema.” Cinema Papers 125 (June 1998): 14-15, 71.

Kellner, Douglas. “New Taiwan Cinema in the 1980s.” Jump Cut 42 (December 1998): 101-115.

Lee, Tain-Dow. “Rereading the Cultural Significance of Taiwan's Cinema of the 1990s.” Asian Cinema 7, 1 (1995): 3-11.

Li, Ya-Mei, ed. 20th Anniversary of Taiwanese New Cinema. Taipei: Taipei Golden Horse Film Festival Executive Committee, 2003.

Lu, Tonglin. “Taiwan New Cinema and Its Legacy.” in Song Hwee Lim and Julian Ward, eds. The Chinese Cinema Book: 122-30.

Park, Seung Hyun. “New Taiwanese Cinema and Its Historical Meanings.” Asian Cinema 14, 2 (Fall/Winter 2003): 123-144.

Rawnsley, Ming-yeh T. “Taiwan New Cinema.” in Corrado Neri and Kirstie Gormley, eds. Taiwan Cinema/Le cinéma taiwanais: 89-96.

Sato, Tadao. “A Passage to Taiwan.” Cinemaya 15 (1992): 4-8.

Wu, Chia-Chi. “Festivals, criticism and the international reputation of Taiwan New Cinema.” in Darrell William Davis and Ru-Shou Robert Chen, eds. Cinema Taiwan: Politics, Popularity and State of the Arts: 75-91.

Wu, Meiling. “Postsadness Tawain New Cinema: Eat, Drink, Everyman, Everywoman.” in Sheldon H. Lu and Emilie Yueh-Yu Yeh, eds. Chinese-Language Film: Historiography, Poetics, Politics: 76-95.

Yip, June. “Taiwanese New Cinema.” in Geoffrey Nowell-Smith, ed. The Oxford History of World Cinema: 711-713.

Books in Chinese

 

Chang, Jinn-Pei. Dianying linghun shendu de goutongzhe: liao qingsong. Taipei: Art& Collection Group, 2009.

──. Shengsehezi: yinxiao dashi du duzhi de dianying lu. Taipei: Locus Publishing, 2009.

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