Appendix 1: List of Chinese Characters 2/28 Incident 二二八事件 Bai Ke 白克 benshengren 本省人 bianshi (benshi/benzi) 辯士 bingbian 兵變 Bu Wancang 卜萬蒼 Cathay Film Company 國泰影業公司 Central Motion Picture Corporation 中央電影公司 Central Pictures Corporation 中影股份有限公司 Chang Cheh 張徹 Chang Tso-Chi 張作驥 Chen Feibao 陳飛寶 Chen Huai-En/En Chen 陳懷恩 Chen Yi 陳儀 chengzhang 成長 Chiang Wei- Shui 蔣謂水 Chiao Hsiung- Ping 焦雄屏 dahan minzu 大漢民族 Da’an senlin gongyuan 大安森林公園 doka 同化 Du Yun- Zhi 杜雲之 Edward Yang 楊德昌 Fang- Nai Pavilion Theater 芳乃亭 Feng Fei- Fei 鳳飛飛 gaoshanqing 高山青 Ge- Zai Opera 歌仔戲 Gong Hong 龔弘 guxiang 故鄉 guangfu 光復 guomin 國民 188 Appendix 1 guopian 國片 He Fei- Guang 何非光 Hou Hsiao- Hsien 侯孝賢 Hu Die 胡蝶 Huang Shi- De 黃時得 Ichikawa Sai 市川彩 jiankang xieshi zhuyi 健康寫實主義 Jinmen 金門 jinru shandi qingyong guoyu 進入山地請用國語 juancun 眷村 keban yingxiang 刻板印象 Kenny Bee 鍾鎮濤 Ke Yi-Zheng 柯一正 kominka 皇民化 Koxinga 國姓爺 Lee Chia 李嘉 Lee Daw- Ming 李道明 Lee Hsing 李行 Li You-Xin 李幼新 Li Xianlan 李香蘭 Liang Zhe- Fu 梁哲夫 Liao Huang 廖煌 Lin Hsien- Tang 林獻堂 Liu Ming- Chuan 劉銘傳 Liu Na’ou 劉吶鷗 Liu Sen- Yao 劉森堯 Liu Xi- Yang 劉喜陽 Lu Su- Shang 呂訴上 Ma- zu 馬祖 Mao Xin- Shao/Mao Wang- Ye 毛信孝／毛王爺 Matuura Shozo 松浦章三 Mei- Tai Troupe 美臺團 Misawa Mamie 三澤真美惠 Niu Chen- Ze 鈕承澤 nuhua 奴化 nuli 奴隸 Oshima Inoshi 大島豬市 piaoyou qunzu 漂游族群 Qiong Yao 瓊瑤 qiuzhi yu 求知慾 quanguo gejie 全國各界 Appendix 1 189 renmin jiyi 人民記憶 Ruan Lingyu 阮玲玉 sanhai 三害 shandi 山地 Shao 邵族 Shigehiko Hasumi 蓮實重彦 Shihmen Reservoir 石門水庫 shumin 庶民 Sino- Japanese Amity 日華親善 Society for Chinese Cinema Studies 中國電影史料研究會 Sun Moon Lake 日月潭 Taiwan Agricultural Education Studios 臺灣農教製片場 Taiwan Cultural Association 臺灣文化協會 Taiwan jinyan 臺灣經驗 Taiwan Motion Pictures Studios 臺灣電影攝製場 Taiwan Nichinichi Shimpo 臺灣日日新報 Taiwan People’s Daily 臺灣民報 Taiwan Self- Governance Alliance 臺灣自治聯盟 Taiwanese People’s Party 臺灣民眾黨 Takamatsu Toyojiro 高松豐次郎 Tanaka King 田中欽 Tao De- Chen 陶德辰 Tian- Ma Teahouse 天馬茶房 town and village self- governance 城鄉地方自治 Three Principles of the People 三民主義 Tsai Ming-Liang 蔡明亮 Tsai Pei- Huo 蔡培火 waishengren 外省人 Wan Jen 萬仁 Wan- Xiang Film Company 萬象影片公司 Wang Tong/Wang Tung 王童 Wang Yun- Feng 王雲峰 wenhua cun 文化村 Wei De- Sheng 魏德聖 Wu Feng 吳 鳳 Wu Nien- Jen 吳念真 wunu 舞女 Xiamen/Amoy 廈門 Xiao Ye 小野 xieyuan xiangyi 血緣相依 Yamaguchi Yoshiko 山口淑子 190 Appendix 1 Yang Zhao- Jia 楊肇嘉 Yellow Plum Melody 黃梅調 yiqie wei mingtian 一切為明天 yixiang 異鄉 Tseng Wen Reservoir 曾文水庫 Zeng Zhuang- Xiang 曾壯祥 Zhan Tian- Ma 詹天馬 zhandou wenyi 戰鬥文藝 Zhang Han- Shu 張漢樹 Zhang Yi 張毅 Zhang Yimou 張藝謀 Zhang Yong- Xiang 張永祥 Zheng Cheng- Gong 鄭成功 zhengtixing 整體性 zhengzong 正宗 zhihua 殖化 Zhou Xuan 周璇 Appendix 2: List of Film Titles in Chinese I cite commonly used English film titles and indicate alternatives when available. For those films first appearing in English publication, especially in the Taiwanese-dialect cinema section, the translations are mine. Awakening from a Nightmare 惡夢初醒 Banana Paradise 香蕉天堂 Beautiful Duckling 養鴨人家 Blood Stains 血痕 A Borrowed Life 多桑 Both Sides Are Happy 兩相好 Boys from Fengkuei 風櫃來的人 The Bride from Hell 地獄新娘 Brother Wang and Brother Liu 007 王哥柳哥007 Brother Wang and Brother Liu Have a Happy New Year 王哥柳哥過好年 Brother Wang and Brother Liu Have Hundredsof Children and Thousands of Grandchildren 王哥柳哥百子千孫 Brother Wang and Brother Liu Tour Taiwan 王哥柳哥遊台灣 Brother Wang and Brother Liu Tour the Underworld 王哥柳哥遊地府 The Burning of the Red Lotus Temple 火燒紅蓮寺 Cape No. 7 海角七號 A City of Sadness 悲情城市 Darkness and Light 黑暗之光 Daughters of the Nile 尼羅河女兒 Descendants of the Yellow Emperor 黃帝子孫 The Ditsy Bride and Her Goofy Groom 三八新娘憨女婿 Dr. Sun Yat- Sen 國父傳 192 Appendix 2 Dust in the Wind 戀戀風塵 The Early Train from Taipei 台北發的早班車 The Eyes of the Buddha 大佛的瞳孔 Flowers of Shanghai 海上花 The Goddess 神女 Good Morning, Taipei 早安台北 Green, Green Grass of Home 在那河畔青草青 He Never Gives Up 汪洋中的一條船 Head of the Street, End of the Lane 街頭巷尾 Heart with a Million Knots 心有千千結 Hill of No Return 無言的山丘 His Son’s Big Doll/The Sandwich Man 兒子的大玩偶 The Hole 洞 How I Lived My Life 我這樣過了一生 Hua- Lien Harbor 花蓮港 In Our Time 光陰的故事 Little Dragonhead 小龍頭 Expectations 指望 Jumping Frog 跳蛙 Say Your Name 報上名來 Island Etude 練習曲 Kang- Ding Tours Taipei 康丁遊台北 The Last Train from Kaohsiung 高雄發的尾班車 The Legend of Ali Mountain 阿里山風雲 The Love Eterne/Butterfly Lovers 梁山伯與祝英台 Love Waves 情潮 Lovable You/Cute Girl 就是溜溜的她 My New Friends 我新認識的朋友 Monga 艋舺 One-Armed Swordsman 獨臂刀 Osmanthus Lane 桂花巷 Oyster Girls 蚵女 The Peach Girl 桃花泣血記 Play While You Play/Cheerful Winds 風兒踢踏踩 Raise the Red Lantern 大紅燈籠高高掛 Rebels of the Neon God 青少年哪吒 Red Persimmons 紅柿子 Reunion 我們都是這樣長大的 The River 河流 The Road 路 The Seashore of Goodbye 惜別的海岸 Appendix 2 193 Sisters 姐妹花 Six Talents’ Romance of the West Chamber 六才子西廂記 Song of the Fisherman 漁光曲 Star, Moon, Sun 星星，月亮，太陽 Story of a Small Town 小城故事 Strawman 稻草人 Street Angels 馬路天使 A Summer at Grandpa’s 冬冬的假期 Super Citizens 超級市民 Taipei Story 青梅竹馬 Terrorizers 恐怖份子 That Day, on the Beach 海灘上的一天 A Time to Live, a Time to Die 童年往事 Toys 小玩意 What Time Is It There? 你那邊幾點？ Whose Fault Is It? 誰之過？ Yi Yi/A One, and a Two 一一 Xue Ping- Guei and Wang Bao-Chuan 薛平貴與王寶釧 Notes Introduction: Taiwan Cinema and the Historiography of Absence 1. Kristin Thompson and David Bordwell, Film History: An Introduction, New York: McGraw- Hill, Inc., p. 779. Interestingly, later editions of this book in 2003 and 2009 incorporated new information but only on what has trans- pired after 1982, keeping the exact same paragraph that introduces Taiwan into the authors’ vast mapping of world cinema history. See Thompson and Bordwell, 2003, p. 659, and 2009, p. 652. 2. Robert Sklar, A World History of Film, New York: Harry N. Abrams, Inc., 2001, p. 470. 3. Andrew Higson, “The Concept of National Cinema,” Screen, vol. 30, no. 4, 1989, pp. 36–37. 4. Higson, “The Limiting Imagination of National Cinema,” in Cinema and Nation, edited by Mette Hjort and Scott Kenzie, London and New York: Routledge, 2000. 5. Stephen Crofts, “Reconceptualizing National Cinemas,” in Film and Nationalism, edited and with an intro by Alan Williams, New Brunswick, New Jersey, and London: Rutgers University Press, 2002. 6. Higson, “The Limiting Imagination of National Cinema,” pp. 67–69. 7. See Dudley Andrew, “Islands in the Sea of Cinema,” in National Cinemas and World Cinema, edited by Kevin Rockett and John Hill, Dublin, Ireland: Four Courts Press, 2006, p. 15. 8. Chen Kuan-Hsing, “Taiwan New Cinema, or a Global Nativism?” in Theorizing National Cinema, edited by Valentina Vitali and Paul Willemen, London: BFI Publishing, 2006, pp. 138–147. 9. Shih Shu-Mei, “Globalisation and the (In)Significance of Taiwan,” Postcolonial Studies, vol. 6, no. 2, 2003, pp. 143–53. 10. Chris Berry “If China Can Say No, Can China Make Movies? Or, Do Movies Make China? Rethinking National Cinema and National Agency,” in Modern Chinese Literary and Cultural Studies in the Age of Theory, edited by Rey Chow, Durham and London: Duke University Press, 2000, p. 177. 196 Notes 1 Colonial Archives, Postcolonial Archaeology: Pre- 1945 Taiwan and the Hybrid Texts of Cinema before Nation 1. Lu Su- Shang, Taiwan dianying xiju shi (The History of Taiwan’s Film and Drama), Taipei: Yin- Hua Publishing, 1961. 2. The figure of the “slave” (nuli) as antithetical to “national people” (guomin) had occupied a significant part of Chinese nationalist thinking since as early as the late Qing dynasty. Rebecca Karl demonstrates convincingly that the binary between the “slave” as passive and guomin, the “true” national sub- ject, as active, is particularly effective in the nationalist discourse to situate China’s struggle within the larger global context. That dichotomy serves to link up China’s struggle against imperialist invasion with other regions of the world through a shared condition of “statelessness.” See Karl, Staging the World: Chinese Nationalism at the Turn of the Twentieth Century, Durham: Duke University Press, 2002, p. 54 and p. 79. 3. Du Yun- Zhi, Zhongguo dianying shi (The Film History of China), vol. 3, Taipei: Taiwan Commercial Press, 1972, pp. 1–3; and, Du, Zhonghua minguo dianying shi (The Film History of the Republic of China), Taipei: The Council for Cultural Affairs, Administrative Yuan, 1988, pp. 439–440. Another note- worthy change is that in the original the author’s preface (mostly personal reminiscences) and abstract (brief explanation of periodization emphasizing its focus after 1949 on “free China” only, i.e. Taiwan and Hong Kong) are replaced by a preface written by the Council’s director at the time of the pub- lication. The new preface takes care to avoid political partisanship by lauding film as art and its importance as historical document. 4. Another demonstration of this significant shift in film historiography can be found in critical works done on New Taiwan Cinema in the 80s and early 90s, an analysis of which will be provided in chapter 5. 5. See Lee Daw- Ming, “Taiwan dianying diyizhang: 1900–1915” (The First Chapter of Taiwan’s Film History: 1900–1915), Film Appreciation, no. 73, p. 28, and “Dianying shi ruhe laidao Taiwan de?” (How Did Film Arrive in Taiwan?), Film Appreciation, no. 65. p. 107. 6. Lee, “Riben tongzhi shiqi dianying yu zhengzhi de guanxi” (The Relationship between Film and Politics during the Japanese Colonization), History Monthly, Nov. 1995, p. 123. 7. See Li Tian-Duo, Taiwanese Cinema, Society, and History, Taipei: The Society for Chinese Cinema Studies, 1997, pp.