Taiwanese-Language Cinema

Taiwanese-Language Cinema: Rediscovered and Reconsidered (Edinburgh UP, 2024), edited by Chris Berry, Wafa Ghermani, Corrado Neri, and Ming-yeh T. Rawnsley, is a landmark contribution to studying Taiwanese cinema. The book revisits Taiyupian, a thriving yet overlooked segment of Taiwan’s cinematic history produced between the 1950s and 1970s in the Minnanhua dialect commonly used by the local Hoklo.

This volume arrives at a pivotal moment when many of these films are being restored, subtitled, and critically revisited. By bringing together essays from Taiwanese and non-Taiwanese scholars, the book offers a robust framework for understanding Taiyupian’s cultural, social, and industrial dimensions. It challenges the traditional dominance of Mandarin and Japanese influences in Taiwan’s cinematic narrative, advocating for a broader, more inclusive history.

The book is organised into four sections, each exploring different aspects of Taiyupian:

1. Critical Interventions:

Only one article is presented in this section and is written by award-winning researcher Chih-heng Su. Su critiques the oversimplified perception of Taiyupian as merely low-budget or formulaic, arguing that such views neglect the socio-political and artistic contexts of their production. Su’s work ultimately advocates for reclaiming the dignity and artistic value of Taiyupian by delving into the naming of Taiyupian, which aligns with the broader goals of the book to elevate and reconsider Taiyupian within Taiwan’s historical and global contexts.

2. Social Transformations:

These chapters highlight how Taiyupian reflected and shaped social changes, addressing topics like gender roles, blindness, and the transition of traditional Taiwanese opera onto the screen. In this section, film studies, history, and cultural anthropology are brought together with the discussion of Taiyupian, offering a holistic view. The essays provide vivid analyses, such as Adina Zemanek's exploration of Taiyupian as “vernacular modernism,” which connects domestic spaces in these films to broader narratives of modernity and identity. 

3. Industry and Aesthetics:

This part examines the production conditions, stylistic elements, and the creative choices that defined this unique cinematic tradition. It provides an in-depth look at how the Taiyupian film industry thrived despite limited resources and faced challenges that shaped its artistic identity.

The editors skilfully blend historical analysis with cultural theory, offering insights into the socio-political context that gave rise to these films and their eventual decline. The inclusion of translated Taiwanese scholarship is particularly commendable, as it ensures a dialogue between local and global perspectives.

Reading this book is an eye-opening experience, especially for those unfamiliar with Taiyupian’s rich legacy. The book effectively positions these films not as relics but as dynamic cultural artefacts that continue to shape Taiwan’s cinematic and cultural identity. The writing, while scholarly, is engaging, particularly in chapters that explore Taiyupian's aesthetic and emotional resonance. The visuals and archival materials referenced throughout enhance its value as a resource for both academic and personal exploration.

I wholeheartedly recommend this book to anyone interested in Taiwanese cinema, East Asian cultural studies, or the intersection of language and identity in film. Its insights resonate far beyond the specific era it examines, offering a model for how neglected histories can be rediscovered and celebrated.

Dr Ming-Yeh Tsai Rawnsley is a Taiwanese media scholar, writer, and former journalist and TV screenwriter. Since 2013, she has been a Research Associate at the Centre of Taiwan Studies, SOAS University of London. She is also a Non-Resident Senior Fellow at the China Policy Institute, University of Nottingham (2014–present), a Research Fellow at the European Research Centre on Contemporary Taiwan (ERCCT), University of Tübingen (2015–present), and Research Associate at Academia Sinica, Taiwan (2018–present). M-Y T. Rawnsley is the Editor-in-Chief of the International Journal of Taiwan Studies (2018–present) and associate editor of the East Asian Journal of Popular Culture (2013–present).

Bing Wang receives her PhD at the University of Leeds in 2020. Her research interests include the exploration of overseas Chinese cultural identity and critical heritage studies. She is also a freelance translator.