Katthveli – FilmTaiwan
Matching the rhythm of the seasons in nature, the first four issues of Katthveli are going to run over a year, inspired by the 24 solar terms: Cold Dew – Winter Solstice, Slight Cold – Spring Equinox, Pure Brightness – Summer Solstice, Slight Heat – Autumnal Equinox.
From late autumn to early winter, nature quietens in preparation for a long winter rest. In launching the magazine during this period, we hope that we can slowly prepare, start sprouting, and gradually grow.
No.1 Cold Dew – Winter Solstice
Creating a Utopia on the Margin of Empires
By LEE Tzu-Tung
In 1989, the Taiwanese government decided to adopt open measures for foreign films, in response to the impact that joining the World Trade Organisation (WTO) might cause. Korea and Hong Kong also faced the same issue.
Conversation about Democratic Politics among the Yong Generation— Fu Yue: Dialogue Between Blue & Green (2012)
By GUO Li-Xin
In the campaign for special municipality mayor in 1994, New Party-nominated candidate Chao Shaw-kong strategically rose the level of the election to “guarding the Republic of China.” Unscrupulously enlarging the ideological conflict between the Kuomintang (KMT, Blue) and the Democratic Progressive Party (DPP, Green), he set in Taipei City a battlefield of opposition and aggressive language.
Your content goes here. Edit or remove this text inline or in the module Content settings. You can also style every aspect of this content in the module Design settings and even apply custom CSS to this text in the module Advanced settings.
The Relation of Taiwanese Queer Film and Contemporary Taiwanese Social Movements
By Brian Hioe
One could say that it is something of a tradition in Taiwan to engage with sensitive political matters through film. This began with the Taiwanese New Wave and has continued to the present.
To Win is To Believe We Won’t Lose, Wei Te-Sheng’s KANO Spirit
By FENG Yien
In 2008 while I was writing my Master’s thesis in London, people around me were constantly talking about Cape No. 7. The film, directed by Wei Te-Sheng, became a box office sensation in Taiwan; with a humble budget of NT$50 million, Cape No. 7 grossed NT$530 million.
Naming Customs of Taiwanese Aboriginals and Ethnic Politics On What’s Your Real Name (2002) by Mayaw Biho
By GUO Li-Xin
The Saint Lucian poet Derek Walcott, a Nobel laureate in Literature who has visited Taiwan, writes in his poem “The Schooner Flight”: “…but we live like our names and you would have to be colonial to know the difference, to know the pain of history words contain…”
“Le Moulin”, a throwback to Taiwan one hundred years ago; from surrealism to identity
By YU Nien-Ping
The 2018 Taiwanese municipal elections for both mayoral and magisterial candidates were held on November 24th 2018. On the same day, a referendum on using the name Taiwan, rather than Chinese Taipei, at the 2020 Tokyo Olympics was held, in addition to 10 other referendums focusing on environmental and LGBT rights issues. Despite the results, they created a sphere for deeper discussions on national identity.
Imaging a queer cinema like ours (but what that is?)
By WU Tzuan
As a child growing up in Taiwan in the 90s, I was fortunate enough to witness the openness of culture brought by economic development. To some extent, queer cinema belongs in this category. For many people at that time, film festivals provided valuable opportunities to understand LGBTQ people on screens from all over the world. The art of cinema and sexual minorities started to intertwine like the atmosphere of a carnival.
From Taiwanese LGBTQ Films to Taiwanese LGBTQ movement
By Brian Hioe
Taiwanese queer film of the last few years have received less international attention compared to earlier films from the Taiwanese New Wave. Again, reasons for this include that more recent Taiwanese film in general remain overshadowed by the Taiwanese New Wave internationally, as well as that there is no visual language for contemporary Taiwanese film which has led them to be recognizably grouped together in a manner similar to the New Wave.
Politics in Historical Documentary— Liang-Yin Kuo: Shonenko (2006) and Suspended Duty (2010)
By GUO Li-Xin
Shonenko, a film directed and produced by Liang-Yin Kuo, successfully demonstrates the epitome of documentary at a time when the production of documentary in Taiwan has tended to cater to popular trend and consumer taste.
Interview with Mark Ping-Bing Lee – You need to observe, observe the lights
By LIN Yi-Mei
In 2018, the 2nd East Asia Film Festival Ireland chose Mark Ping-Bing Lee, a great Taiwanese cinematographer, as the director in focus. The festival offered screenings of four films: In the Mood for Love (2000, opening film), Springtime in a Small Town (2002), Three Times (2005), Seventy-seven Days (2017), plus a documentary Let the Wind Carry Me (2010).
The music and the memories preserved in Pai Ching-jui’s films: From A Morning in Taipei to The Last Night of Madam Chin
By HUANG Zhong-Ying
As one of few Taiwanese filmmakers who studied abroad several decades ago, Pai Ching-jui studied in Accademia di Belle Arti di Roma in 1961 and Centro Sperimentale di Cinematografia di Roma in 1962.