Table of Contents
1. From Taiwan New Cinema to Post-New Cinema: An Introduction, Kuei-fen Chiu
Part I: International Reception and Taiwan Cinema
2. Taiwan Cinema across the Globe: A Brazilian Perspective
3. Variables of Transnational Authorship: Hou Hsiao-hsien and Wei Te-sheng
4. Taiwan Cinema at the Venice Film Festival: From Cultural Discovery to Cultural Diplomacy
5. Contesting the National, Labelling the Renaissance: Exhibiting Taiwan Cinema at Film Festivals in Japan since the 1980s
6. Programming Taiwan Cinema: A View from the International Film Festival Circuit
7. Interventions on Cultural Margins: The Case of the Chinese Film Forum UK and the Presence of Taiwan Cinema in the UK
Part II: Taiwan Cinema and Social Change
8. Becoming a Nation: The Shaping of Taiwan’s Native Consciousness in Wei Te-sheng’s Post-Millennium Films
9. Imagine There’s No China: Wei Te-sheng and Taiwan’s ‘Japan Complex’
10. Kano and Taiwanese Baseball: Playing with Transregionality and Postcoloniality
11. Seediq Bale as History
12. Violence and Indigenous Visual History: Interventional Historiography in Seediq Bale and Wushe, Chuanzhong Island
13. Archiving an Historical Incident: The Making of Seediq Bale as a Socio-Political Event
14. Mona Rudao’s Scar: Two Kinds of Epic Identity in Seediq Bale
Part III: Interview and Supplement
15. A Conversation with Taiwanese Filmmaker Wei Te-sheng