By Guo-Juin Hong (auth.)
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Extra resources for Taiwan Cinema: A Contested Nation on Screen
For as a technology at once cultural and industrial, film represents as well as precipitates how the modern is implicated in the East–West dichotomy in the colonial/postcolonial drama of nation-building, a set of conditions that will continue to impact postcolonial Taiwan after 1945. * * * If the colonial conditions entail a loss or erasure, or at least a suppression or denial, of the history of the colonized, to revitalize the research and the writing of colonial history must be an important part of any decolonial project.
Japanese as well as old Shanghai films were shown. The scarcity of new attractions motivated some entrepreneurs to make efforts to import films directly from Hollywood, whose presence would then take root on the island as in so many other war-afflicted areas of the world. Local production was impossible when talent was hard to regroup and production facilities were not in operational condition. These dire circumstances would begin to change for the better, however, when the second Nationalist delegation arrived on October 15, 1945.
The Taiwan Cultural Association’s success was short-lived. By 1927, left-leaning members, such as Tsai Pei- Huo and Lin Xian-Tang, left the group and organized the more politically radical Taiwan SelfGovernance Alliance, while Chiang Wei-Shui founded the Taiwanese People’s Party. Because the Mei-Tai Troupe was affiliated with, but independent of, those different factions, Tsai was able to transition the Troupe into the People’s Party and continue its touring activities. However, due to intensifying conflicts among those political subgroups and worsening harassment by the Japanese police, all three units of the Mei-Tai Troupe completely stopped their screening activities by the summer of 1930.
Taiwan Cinema: A Contested Nation on Screen by Guo-Juin Hong (auth.)