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DescriptionThere are few more fascinating methods for investigating the ways in which Taiwan’s Chinese Nationalist Party (Kuomintang, KMT) Government defined itself as the representative government of all of China in the 1960s and 1970s than to consider its state-sanctioned film industry. Transnational Representations: The State of Taiwan Film in the 1960s and 1970s both excavates Taiwan’s socio-historical context and studies the cinematic form of the era employing an original transnational, comparative framework.
The title “transnational representations” refers to the text’s cross-border comparisons such as those between Taiwan films and films produced in Mainland China in the early 1960s, between Taiwan films and concurrent films from Germany and Senegal that represented the politics of migration, and between Taiwan New Cinema and global new cinema movements. The “state of Taiwan film in the 1960s and 1970s” refers to both the historical-material conditions in Taiwan during these two pivotal decades and the Chinese Nationalist Party’s presentation of itself as the representative government of all of China in terms of: its relationship to the People’s Republic of China (Chapter 2), film form and content (Chapter 3), depictions of gender identity (Chapter 4), and filmic adaptations of nativist literature (Conclusion).