100 Books Like Taiwan Cinema as Soft Power

I have always enjoyed reading works by Emilie Yueh-yu Yeh and Darrell William Davis as I find their perspectives on the subject I love–Taiwan cinema–refreshing and intelligent.

In their new volume, Yeh and Davis team up with co-editor Wenchi Lin and provide a meticulous examination of 32 individual Taiwanese films between 1963 and 2017. I like the fact that this book offers a wide spectrum of Taiwanese cinematic output in addition to updating the existing literature.

I am particularly inspired by a question that runs through the entire volume: What does national cinema mean to Taiwan at different times under different social, political, and cultural contexts?  

This is one of the first English books I read about Taiwan New Cinema (TNC), arguably the most significant film movement in Taiwan to date.

When the TNC occurred in the 1980s, I was a student and Taiwan was going through the early stage of regime transition and democratization. It was an exciting but also uncertain time. I found films of TNC compelling but often opaque in meaning.

Reading this book in the early 21st century suddenly unlocked a lot of mysteries about the TNC as a film movement and the brilliance of these works for me. It motivated me to start researching Taiwan cinema as a subject more seriously.       

When I decided to study Taiwan cinema more systematically, I tried to read as much on the subject as possible. I enjoyed this book because it offered me a broad overview of many kinds of questions that can be asked about and through Taiwan cinema.

For example, I realized that it is possible to try and understand Taiwanese domestic & international politics, cross-strait relations, colonial history, and the impact of globalization in a more relatable manner by reading films and documentaries as texts. It is also possible to analyze different festivals, genres, filmmakers, and individual films from the perspectives of the film industry and film artistry.

I was totally energized by the enormous potential the subject of Taiwan cinema can offer because of this book.     

I recommend this book because it is one of the few single-authored monographs in English that covers Taiwan cinema exclusively and comprehensively.

The study of Taiwan cinema has proliferated and diversified a great deal in recent years. However, when Hong’s Taiwan Cinema was published in 2011, most books on this subject were edited volumes and tended to have a narrower focus at the time. I like the fact that the author has offered many first-hand research materials.

I learned not only about the history of Taiwan cinema from pre-1945 to the new millennium but also why and how Taiwan cinema has shown the island as a contested nation on screen throughout the many decades. 

Bruce Block has taught at many of the studios in the film industry and now you can also learn about the tools of art that can be used to elevate your art to entertainment industry standards. I myself have worked in animation, video games, and comics. In video games, I have been an art director for many years and when I discovered this book, it dramatically increased my ability to be a better AD. Not only is this book broken down into clear topics with numerous visuals to help you understand but Bruce also shows you have to chart these tools allowing you to art direct your own projects. Every artist and visual creative person should own this book.

This lavishly illustrated large-format volume takes the reader from George Lucas’s childhood and early youth to his years at film school and his subsequent Hollywood career as a director, writer, and producer, with a particular emphasis on the production histories of his key films.

With unprecedented access to countless interviewees and archival materials, Hearn brings George Lucas and the making of his films to life.

Apart from telling compelling stories, he also reproduces a wide range of documents for the reader’s perusal so that the book may serve as an archive in its own right (and I have certainly used it precisely in this way in my own research).

This short but very informative and stimulating book in the BFI Film Classics series was first published in 2009, with a new edition coming out in 2020.

Brilliantly illustrated with screenshots from Star Wars and some of the films George Lucas’s most famous production was influenced by, Will Brooker combines a meticulous analysis of the style, story, and themes of Star Wars with important details about the film’s production history and illuminating references to Lucas’s previous films and to the Star Wars saga as a whole.

As an American film revolutionary, before there was Cassavetes, before there was Tarrantino, before there was Scorsese or Coppola or Ridley Scott or Christopher Nolan or Jane Campion or Todd Field—there was Elia Kazan. He ushered in a new post-World War II era of naturalism in acting. He gave us James Dean and Marlon Brando.

This book is culled from the actual diaries he kept during rehearsal and production for his theater and film projects. Windows into his hopes, his strategies, his self-doubts. As a creative person myself, I felt given permission to take ownership of my own ambitions, ideas, and fears.

This is a sweeping epic of a book and should be required reading for any student of film history.

Told in a manner that is at once intimate and authoritative, it reads like both a textbook and a biography, detailing the lives of a series of historical figures as a means of relating the history of the Black image in film.

In doing so, Haygood contextualizes the cinematic developments of the past by placing them alongside the social and political developments of the time, showing that you can never truly separate fact from fiction. 

An editor of my book, Brian Neve has written extensively on the Hollywood Left, with many books, articles, and chapters devoted to filmmakers such as Cy Endfield, Elia Kazan, Robert Rossen, and Joseph Losey, or more broadly to politics and American cinema. A useful complement to the Ceplair & Englund volume, this astute, engaging, and empirically-grounded study explores how a generational cohort of radical and liberal creative practitioners—including Kazan, Losey, Rossen, Abraham Polonsky, Jules Dassin, John Huston, and Orson Welles—were energized by the political culture of the Depression era and sought, in different ways, to navigate the industrial and commercial constraints of Hollywood to produce socially-engaged films. This project was brutally stifled by the blacklist, with many filmmakers forced to choose between exile or collaboration.