活動訊息EXHIBITION AND EVENT INFORMATION

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  Same-Sex Romance and a Lecherous Zhu Bajie? Discover the Radical Taiyupian of LEE Hsing, the “Godfather of Taiwan Cinema”!

  Celebrated as the “godfather of Taiwan cinema,” director LEE Hsing collaborated with the Central Motion Picture Corporation (CMPC) to pioneer the Healthy Realism movement, creating classics such as Beautiful Duckling (1965) and The Story of a Small Town (1979) that opened a new chapter in Taiwan cinema. Yet before that, he had already directed numerous Taiwanese-language films (“Taiyupian”), including Brother Wang and Brother Liu Tour Taiwan (1959), helping to spark a wave of Taiyupian comedies and revealing a creative range far broader than one might imagine. As part of the Taiwan Film and Audiovisual Institute’s celebrations for the 70th anniversary of Taiwanese-language cinema, the “Formosa Treasure: Taiyupian as World Cinema” series will present the August special program, “Lee Hsing and Taiwanese-Language Cinema (Taiyupian),” featuring four films from the director’s independent production era. Audiences may be shocked to discover that more than 60 years ago, this Golden Horse Award-winning director was already exploring daring stories such as a female same-sex romance and Zhu Bajie’s comic pursuit of love in Journey to the West!   With HOU Hsiao-hsien as his former script supervisor and assistant director, and Kevin CHU regarded as his final protégé, LEE Hsing’s influence on Taiwan Cinema runs deep. As a China-born filmmaker working in the Taiwanese-language film market, he directed 12 Taiyupian between 1958 and 1963. He blended elements of Chinese cinema, traditional opera, Japanese cinema, and Western comedy, distilling this rich cultural hybridity into works unmistakably rooted in the local character of Taiyupian. Two Friends (1959), adapted from the fantastical world of Journey to the West, carries forward the hugely popular comic style of Brother Wang and Brother Liu Tour Taiwan (1959) and once again stars “Brother Wang,” LEE Kuan-chang, this time in the lead role of Zhu Bajie. Lecherous, lazy, and far from handsome, Zhu Bajie is no revered hero. He stumbles from one mishap to another on the journey to retrieve the Buddhist scriptures, yet his deeply human flaws make him endear to audiences. In the film, Zhu Bajie sings a humorous adaptation of the Taiwanese folk song “Diu Diu Dang Ah,” poking fun at himself with lyrics such as, “Though I may be a little ugly,” and “Everyone laughs at me for being a lecherous pig.” Beloved Taiwanese singer CHI Lu-hsia was among those invited to perform the songs behind the scenes, revealing through the film's playful spirit the mutually reinforcing relationship between Taiyupian and the pop music industry.   In The Royal Society (1962), the only Taiwanese opera film LEE Hsing ever directed, Jinfeng and Yin-e, two young women disguising themselves as men, end up falling for each other’s cross-dressed personas, sparking an unexpectedly intimate bond! Featuring performances by the Sai Chin Pao Opera Troupe and shot in just 10 days, its remarkable production speed reflects the hands-on experience LEE Hsing had accumulated working on Taiyupian sets. Far removed from the upright and conservative subjects associated with his later Healthy Realism films, The Royal Society reveals an undercurrent of desire flowing between its two young female protagonists beneath the constraints of social status, arranged marriage, and the traditional family order, showcasing the uninhibited vitality of Taiyupian.   Good Neighbors (1962) uses broad comedy to depict the fateful ties between two families. Dr. Huang, a Taiwanese physician practicing Western medicine, and Dr. Chen, a mainland Chinese practitioner of traditional Chinese medicine, live side by side. Constantly at odds because of differences in language and custom, their interactions give rise to one comic situation after another. Borrowing the narrative framework of Hong Kong's The Greatest Civil War on Earth series to explore ethnic conflict, Good Neighbors interweaves Taiwanese and Mandarin dialogue throughout. The film marks an important turning point in LEE Hsing’s transition from Taiwanese-language cinema to Mandarin-language cinema, while also serving as the screen debut of actress WANG Man-chiao, who would later in her career become affectionately known as Taiwan's “National Grandma.” More precious still, the film concludes with documentary footage of temple festival processions, preserving the folk customs of Taiwan at the time through a quasi-ethnographic approach.   LEE Hsing’s first Mandarin-language film, Our Neighbor (1963), portrays the everyday lives of ordinary people. Having come to Taiwan from China, Shih San-tai and Chen A-fa live together in a crowded urban tenement, looking after one another. Shih San-tai, who makes a living collecting scrap, develops a deep father-daughter bond with the orphan Hsiao-chu, while Chen A-fa and neighbor Chu Li-li unwittingly fall for each other. Our Neighbor’s finely observed visual imagery is the work of master cinematographer LAI Cheng-ying, whose lens vividly captures the environment and atmosphere of life at the bottom of society. It also retains a small amount of Taiwanese dialogue and features Taiyupian star HO Yu-hua in a supporting role. The traces of LEE Hsing's Taiyupian experience remain clearly visible, while also foreshadowing the direction his later filmmaking would take.   Two Friends (1959) stars LI Kuan-chang (left), the “Brother Wang” from Brother Wang and Brother Liu Tour Taiwan, as protagonist Zhu Bajie. (Courtesy of TFAI)   The Zhu Bajie in Two Friends (1959) is lecherous, lazy, and far from handsome. (Courtesy of TFAI)   The Royal Society (1962) is LEE Hsing’s only Taiwanese opera film. Right: WU Ming-hsia, one of the four leading xiaosheng performers of Taiwanese opera at the time, as Jinfeng.   The Royal Society (1962) depicts the undercurrent of desire between two young women.   Good Neighbors marks an important turning point in LEE Hsing’s transition from Taiyupian to Mandarin-language films.   Good Neighbors follows two families whose differences in language and customs lead to constant friction and endless comic situations!   LEE Hsing’s first Mandarin-language film, Our Neighbor (1963), still features a small amount of Taiwanese dialogue.
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  CHEN Yu-hsun and TSENG Jing-hua Reunite for The Missing Film Courier, TFAI’s New Sci-Fi Brand Film Reviving a Lost Cinema Profession

  Following the nationwide buzz generated by A Foggy Tale (2025), acclaimed director CHEN Yu-hsun and actor TSENG Jing-hua have reunited for a new collaboration: The Missing Film Courier, the latest brand film for the Taiwan Film and Audiovisual Institute (TFAI). The film held its world premiere today (June 24), with CHEN and TSENG appearing in person to share behind-the-scenes stories and reflect on the evolution of Taiwan’s film industry. In the film, TSENG Jing-hua rides a vintage motorcycle and learns how to restore physical film reels, stepping into the roles of both a film courier and a film restoration specialist for the first time. Inspired by director CHEN Yu-hsun, TSENG  also unleashes his inner comedian.   Written and directed by CHEN Yu-hsun, The Missing Film Courier showcases his signature comedic style while incorporating numerous hidden references and cinematic easter eggs. TFAI Chairperson Arthur CHU recalled, “Last July, TFAI hosted a 30th-anniversary outdoor screening of Tropical Fish (1995). While Director CHEN was still carried away by the occasion, I sat down beside him and said, ‘Director, now that you’ve finished A Foggy Tale, would you have time to make a brand film for TFAI?” The strategically timed invitation drew laughter from the audience. CHEN readily agreed on the spot. However, in his trademark humorous fashion, he later joked that after writing the script, he couldn’t help but regret saying yes.   The story begins on Ximending’s bustling cinema street thirty years ago, when iconic theaters such as LUX CINEMA, Hoover Theatre, Sun Cinema, Wanguo Theatre, and Shin Sheng Theatre lined the district. In the era before digital distribution, films could not be transmitted online. Instead, projection depended on “film couriers” who traveled between theaters delivering physical reels by motorcycle, ensuring screenings could proceed on schedule. Director CHEN Yu-hsun said, “We had to recreate scenes from 1995, incorporate time travel to the future, and handle all the visual effects!” He also took a hands-on approach to the production, composing the music and playing the guitar himself. What moved him most, however, was the enormous support from the cast and crew, all of whom readily agreed to take part in the project. “It wasn’t because they like me,” he joked. “It’s because everyone wanted to contribute to the preservation and promotion of film and audiovisual heritage.” The film stars TSENG Jing-hua, fresh from winning the Best Lead Actor at the Global OTT Awards. CHEN also expressed his gratitude to the award-winning creative team who generously lent their support, including cinematographer CHOU Yi-hsien, production designer WANG Chih-cheng, visual effects supervisor Tomi KUO, editor PAN Ke-yin, sound mixer LU Lu-ming, and sound designer TU Duu-Chih, as well as actors Greg HSU and Gingle WANG,who authorized the use of their likenesses for the film’s futuristic robots.   Location shooting took place in Ximending, where streets were temporarily closed to recreate the atmosphere of the past and allow TSENG to experience the work of a film courier firsthand aboard a vintage motorcycle. TSENG Jing-hua said that he found the script intriguing from the moment he read it. Before taking part in the project, however, he had no idea such a profession had ever existed. “While filming, I could really feel the passion behind the work, especially during the scenes of delivering film reels by motorcycle,” he said. “It made me realize how many steps and how much manpower used to be involved in bringing a film to the screen. I really love that atmosphere of people working together so audiences can enjoy a movie in the cinema,” he added. At the premiere of the promotional film, both TSENG Jing-hua and director CHEN Yu-hsun had the opportunity to experience the weight of a film reel firsthand. “It’s so heavy!” CHEN exclaimed. A single reel weighs about three kilograms, and at least four reels are typically required to screen a feature film. With the arrival of the digital era, the profession of the film courier gradually disappeared. As such, TFAI’s promotional film The Missing Film Courier is not only a story about TSENG Jing-hua’s character being abducted by a robot and mysteriously disappearing; it also tributes to the many professions that have vanished from the film industry over time, as well as to the precious film and audiovisual heritage they helped preserve for future generations.   The latter part of the film was shot at TFAI’s Xinzhuang headquarters in New Taipei City, including its lobby, library, and cinemas, whose minimalist white interiors provide a distinctive visual setting. In the story, TSENG is left in the year 2126 by robots resembling popular Taiwanese stars Greg HSU and Gingle WANG, where he assists with film restoration work. The painstaking process requires cleaning and repairing film frame by frame before completing digital image enhancement on computers. From filming, projection, and film delivery in the past to contemporary preservation and restoration practices, every stage of film audiovisual production demands physical endurance, professional expertise, and accumulated experience. Whether in front of or behind the camera, in the past or the future, film and audiovisual works are collective achievements that become all the more irreplaceable through the efforts of many people. The film also highlights the crucial role TFAI plays in safeguarding Taiwan’s film and audiovisual heritage and preserving the nation’s shared memory. The Missing Film Courier is now available in full on the official social media channels of the Taiwan Film and Audiovisual Institute via https://tfaitw.psee.ly/97cvca   TFAI hosted the world premiere of its new brand film The Missing Film Courier. From left, CEO DU Li-chin, actor TSENG Jing-yua, director CHEN YU-hsun, Chairperson Arthur CHU. (Courtesy of TFAI)      Director CHEN Yu-hsun and actor TSENG Jing-hua have reunited for a new collaboration: The Missing Film Courier. (Courtesy of TFAI)   The Missing Film Courier was filmed in Ximenting. Director CHEN Yu-hsun gives on-set direction to TSENG Jing-hua as he portrays a film courier. (Courtesy of TFAI)   The Missing Film Courier was filmed in Ximenting. Director CHEN Yu-hsun gives on-set direction to TSENG Jing-hua as he portrays a film courier. (Courtesy of TFAI)   In TFAI’s new brand film The Missing Film Courier, TSENG Jing-hua takes on the role of a film restoration specialist. (Courtesy of TFAI)   Reuniting after their collaboration on A Foggy Tale, director CHEN Yu-hsun and actor TSENG Jing-hua have once again joined forces for The Missing Film Courier, a new brand film for the Taiwan Film and Audiovisual Institute. (Courtesy of TFAI)  
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  TFAI Confirmed as Host of the 2027 SEAPAVAA Conference

  The Taiwan Film and Audiovisual Institute (TFAI) recently sent a delegation led by CEO DU Li-chin to Ipoh, Malaysia, to participate in the 2026 Conference and General Assembly of the Southeast Asia-Pacific Audiovisual Archive Association (SEAPAVAA). There, TFAI representatives exchanged insights with counterparts from film archives, national archives, and cultural institutions across the Asia-Pacific region on emerging trends in film and audiovisual preservation and collection management. During the event, the SEAPAVAA Executive Council officially announced that the TFAI will host the 2027 SEAPAVAA Conference, making Taiwan the next host nation for the flagship event of this leading international film and audiovisual archiving organization.   SEAPAVAA is a leading professional organization for film and audiovisual archives in the Asia-Pacific region. As an NGO in operational relations with UNESCO, it promotes international cooperation, professional exchange, and the safeguarding of film and audiovisual heritage across the region. Since its establishment in 1996, it has fostered collaboration and exchange among member institutions in areas including audiovisual preservation, research and public outreach, professional training, and international cooperation. TFAI first proposed hosting the event to the SEAPAVAA Executive Council last year and formally submitted its bid earlier this year, highlighting both TFAI’s strengths as an internationally engaged audiovisual preservation and restoration institution and Taiwan's advantages as a host destination. At the General Assembly held on June 10, the Executive Council officially announced that the 2027 SEAPAVAA Conference and General Assembly will be hosted by TFAI for the first time. CEO DU Li-chin remarked: “We hope that hosting the annual conference will further strengthen Taiwan's ties with the international professional community and provide an opportunity to share Taiwan's achievements in film preservation, digital restoration, and audiovisual culture promotion with international partners, fostering new opportunities for cross-border exchange and collaboration.” DU also welcomed member institutions to participate in next year's gathering and introduced TFAI's recent developments and distinctive facilities. Five years ago, TFAI relocated to its current site in New Taipei City, where it expanded its campus with state-of-the-art screening theaters and exhibition spaces. It has since continued its transformation into a dedicated museum of film and audiovisual culture, working to preserve, activate, and promote Taiwan's shared heritage of cinema, television, and radio.   The 2026 SEAPAVAA Conference, hosted by the National Archives of Malaysia, was held under the theme “Redefining Audiovisual in Archives – Relevancy, Technology and Unity,” exploring the transformations and challenges facing audiovisual archiving institutions in the digital age. Conference sessions addressed a range of topics, including public access to audiovisual collections, digital transformation, and inter-institutional collaboration. “Relevancy” focused on how film and audiovisual archives can strengthen their connections with contemporary society through cultural activation, community engagement, and digital storytelling. “Technology” examined developments such as AI-assisted cataloguing, digital restoration, cloud infrastructure, and automated workflows. “Unity” emphasized the importance of cross-border and cross-institutional collaboration, fostering resource sharing and professional exchange among archives, museums, and academic institutions.   During the conference, the TFAI delegation also participated in a series of case-study presentations and exchanges on digital restoration, cultural accessibility, and cross-institutional collaboration. Among these, Japan's IMAGICA—a long-time partner of TFAI—discussed the technical challenges they encountered during a joint film restoration project and the solutions developed to address them. The practical experiences shared by participating institutions on archive management, digital technologies, and operational strategies also provided valuable insights for TFAI's future development and international collaborations.   At the SEAPAVAA Welcome Dinner on June 8, the organizers hosted a special Archival Gems Screening, inviting member institutions to showcase their archival achievements and precious, rarely screened footage. At the event, the head of TFAI’s Department of International Cooperation introduced delegates to the historical significance of the 70th anniversary of Taiwanese-language cinema, as well as TFAI’s recent achievements in the preservation and digital restoration of Taiwanese-language films. The presentation also featured restored clips from classics including Zhang Di Seeks A-Zu (1969), Good Neighbors (1962), and Love Never Ceases (1962), offering international audiovisual archiving professionals a deeper appreciation of the unique value of Taiwan's cinematic heritage, as well as the long-term commitment and resources TFAI has devoted over the years to archival preservation and restoration.   The SEAPAVAA Executive Council is scheduled to visit Taiwan this November to meet with TFAI for more in-depth discussions on preparations for the 2027 SEAPAVAA Conference. Details of the event and its program will be announced progressively from early next year. Please stay tuned to TFAI's official website and social media channels for the latest updates.   TFAI showcased highlights from its Taiwanese-language film restorations at SEAPAVAA’s Archival Gems Screening event. (Courtesy of TFAI)    CEO DU Li-chin presented TFAI’s recent developments and facility highlights to representatives of member institutions from around the world.  (Courtesy of TFAI)    Erica C.C. LIN, Head of International Cooperation, introduced TFAI’s recent film restoration achievements to conference delegates. (Courtesy of TFAI)   ' IMAGICA presented TFAI as a case study in international collaboration. (Courtesy of TFAI)   
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  Tony LEUNG, Carina LAU, Leslie CHEUNG, Cherie CHUNG, and More! TFAI's “Heterodox Drifting: Flesh, Fate, and the Red Chamber of Chiu Kang-chien” Unleashes the Boundless Passions of Death and Desire on the Big Screen

  What kind of screenwriter could collaborate with renowned directors such as Stanley KWAN, Ann HUI, and Patrick TAM, while also attracting international stars including Tony LEUNG Chiu-wai, Carina LAU, Leslie CHEUNG, Cherie CHUNG, and Andy LAU? CHIU Kang-chien is a name every cinephile should know. This July, the Taiwan Film and Audiovisual Institute (TFAI) presents “Heterodox Drifting: Flesh, Fate, and the Red Chamber of Chiu Kang-chien.” Beyond the dazzling casts assembled across its nine featured films, CHIU’s screenplays reveal a cinematic world that is daring, provocative, and utterly uncompromising. From period eroticism and queer desire to suspense and murder, brace yourself for the defiance and excess that is about to unfold on the big screen.   Born on Xiamen’s Gulangyu Island in China’s Fujian province, CHIU Kang-chien moved to Taiwan as a child. His time studying in the United States broadened his horizons and shaped his avant-garde outlook. After returning to Taiwan, he co-founded Theatre magazine with friends including CHUANG Ling and HUANG Hua-cheng, introducing Western art and thought to Taiwan and Hong Kong and inspiring countless young artists, writers, and intellectuals. His literary sensibility and remarkable talent for drama soon attracted the attention of Hong Kong’s Shaw Brothers Studio, where he became a close creative collaborator of key figures of the Hong Kong New Wave, including directors Ann HUI, Patrick TAM, Tony AU Ting-ping, Eddie FONG, and production designer William CHANG Suk-ping. In his first screenplay to reach theatrical release, The Bells of Death (1968), he blended genre elements from 1960s Italian Westerns and Japanese samurai films, infusing them with a strange and unsettling atmosphere unmistakably his own and creating a strikingly modern reimagining of the wuxia film.   The women in CHIU Kang-chien's screenplays are invariably bold and ahead of their time. In Intimate Confessions of a Chinese Courtesan (1972), a young prostitute seeks to master unparalleled martial arts in order to avenge herself against abusive clients, only to enter into a forbidden romance with her madam. Meanwhile, An Amorous Woman of Tang Dynasty (1984), starring Pat HA and Alex MAN, caused a sensation upon its release with its daring scenes and breathtaking imagery. The film vividly portrays the Tang dynasty poet-courtesan YU Xuanji’s transcendence in the face of fate and desire, and the declaration, "I have walked paths that many women dare not tread," has since become an iconic line.   CHIU Kang-chien also captured the inner world of modern men and women with great precision. For Women (1985), the first screenplay he wrote for Hong Kong director Stanley KWAN, he brought together CHOW Yun-fat and Cora MIAO to play a married couple, along with Cherie CHUNG as a seductive mistress, crafting a nuanced portrait of the contradictions of human nature within marriage. His second collaboration with Stanley KWAN, Love Unto Waste (1986), starring Tony LEUNG Chiu-wai, Elaine JIN, TSAI Chin, and CHOW Yun-fat, depicts young men and women seeking to dispel their loneliness through romantic entanglements, only to become caught up in a murder case. Steeped in metaphors of death and sex, it was the screenplay CHIU considered the most satisfying of his career. I Am Sorry (1989) traces the journey of urban women’s self-awakening in the late 1980s. Its four vividly drawn female protagonists, relentless in their pursuit of love, left a lasting impression, leading later generations to hail the film as "Hong Kong’s Sex and the City," with Carina LAU in particular stealing the show.   With his keen insight into human nature, CHIU Kang-chien also used his screenplays to convey his reflections on the times and on history. Nomad (1982) brings together Leslie CHEUNG, Kent TONG, Pat HA, and Cecilia YIP as a group of young men and women who love and hate with equal abandon. They pass their days in a cycle of endless revelry, until the appearance of a defector from the Japanese Red Army plunges them into a struggle for survival. Boat People (1982), the final installment of director Ann HUI's "Vietnam Trilogy," is set against the backdrop of refugees displaced in the aftermath of the fall of South Vietnam in 1975. Making his big-screen debut, Andy LAU plays the young To Minh, earning a nomination for Best New Performer at the 2nd Hong Kong Film Awards.   CHIU Kang-chien’s works spanned literature, theater, and film. Despite his prolific screenwriting, he directed only three feature films, the first of which was Dream of the Red Chamber (1977), an adaptation of one of the Four Great Classical Novels of Chinese literature. Relocated to 1970s Singapore, the story retains the simmering tensions of the love triangle between Lin Daiyu, Jia Baoyu, and Xue Baochai. TFAI provided the world's only surviving 35mm print of Dream of the Red Chamber for digital restoration by Singapore’s Asian Film Archive, allowing this long-lost “Red Chamber” dream, dormant for nearly half a century, to make its Taiwan premiere in this program. Due to the film's age and the severe fading of the original print, the Asian Film Archive elected to restore the film, originally in color, into black and white in order to preserve its viewing quality, making it a unique case among restored Chinese-language films. This screening will also feature a special appearance by restoration specialist Tee Pao CHEW from the Asian Film Archive, who will share firsthand insights into the restoration process.  Pat HA (right) and Alex MAN (left) in the sensational hit An Amorous Woman of Tang Dynasty (1984). (Courtesy of Celestial Pictures Limited)   A young prostitute and her madam embark on a forbidden romance in Intimate Confessions of a Chinese Courtesan (1972). (Courtesy of Celestial Pictures Limited)     Love Unto Waste (1986), starring Tony LEUNG, Elaine JIN, TSAI Chin, and CHOW Yun-fat, was the screenplay CHIU Kang-chien considered the most satisfying of his career. (Courtesy of Fortune Star Media Limited)   Women (1985) stars CHOW Yun-fat (center) alongside Cherie CHUNG (left) in the role of a seductive mistress. (Courtesy of Celestial Pictures Limited)     Nomad (1982) brings together Leslie CHEUNG (right), Kent TONG, Pat HA, and Cecilia YIP (left) as a group of young men and women who love and hate with equal abandon. (Courtesy of TFAI)   Boat People (1982) earned Andy LAU, in his big-screen debut, a nomination for Best New Performer at the 2nd Hong Kong Film Awards. (Courtesy of TFAI)  
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  TFAI Enters a Pivotal Year in Transformation into a Museum, Pioneering a New Model of Cross-Institutional Collaboration

  On May 22, the Taiwan Film and Audiovisual Institute (TFAI) partnered with the Committee for Museum Education of the Taiwan Museum Association (CME) to host an exchange forum titled “From Preservation to Sharing: Audiovisual Collection, Restoration, and Outreach.” TFAI Chairperson Arthur CHU, CEO DU Li-chin, and Deputy Director of Operations Alina LIN led the TFAI team in discussions with CME Chair LIN Wen-ling and dozens of experts from Taiwan’s museum sector.   The TFAI is actively transforming from a film archive into a modern museum and has officially launched its 2026-2030 Strategic Development Plan. Moving forward, it will fully activate more than 200,000 audiovisual items in its collection, including Taiwanese-language films, Taiwan Film Culture Co. newsreels, and Taiwan New Telecommunication (TNT) radio broadcasts. Through the establishment of an open-access initiative, TFAI aims to become a “cultural resource hub” supporting cross-disciplinary curation in museums across Taiwan.      Five-year plan lays the foundation for brand transformation, deepening academic research, and cross-disciplinary curation.   CEO DU Li-chin noted that TFAI originated in 1978 as the “Film Library,” later evolved into the “Film Archive,” and has now become a public administrative body. Over time, the scope of its collection has expanded from film to encompass television and radio as well. The TFAI Board has now formally approved the TFAI 2026-2030 Strategic Development Plan, establishing three core objectives: “Centering Taiwan,”  “Archiving Time,” and “Accessing Memories.” TFAI possesses extensive resources in independent research and oral history and has long published the Film Appreciation Journal. In the future, it will further support scholars and curators across Taiwan in accessing digitized resources through both its physical library and online TFAI Open Museum.   Addressing the question of how to incorporate historical audiovisual archives in contemporary museum exhibitions, DU shared that over the past year or so, TFAI has set up a “complementary” collaboration model with many major domestic institutions. One example is its partnership with the National Museum of Taiwan Literature (NMTL). For exhibitions focused on literary works adapted into film and television, NMTL takes the lead on the original texts, while TFAI provides cinematic perspective. This is further supported by the “Class in Cinema” educational program, which organizes screenings and talks, establishing a successful model for future cooperation.    ▶ CEO DU Li-chin presented an overview of TFAI and highlighted selected institutional partnership projects.   Implementing open-access plan and activating “non-film” materials   The exchange forum also featured a screening of Formosa (1920s) , the earliest known film footage of Taiwan. Wood LIN, Supervisor of the Division of Research & Program at TFAI, delivered the introduction, discussing the distinctive visual language of “tinted” film stock and related research findings and discoveries. The footage documents everyday life, social classes, and historical landmarks in Hsinchu more than a century ago. The digitally restored version has been uploaded to TFAI’s official YouTube channel as part of its open-access initiative for historical audiovisual materials.    ▶ Wood LIN, Supervisor of the Division of Research & Program at TFAI, introduced Formosa.   Beyond film reels, TFAI is actively promoting the use of “non-film” materials as fresh content for contemporary museum exhibitions:    Human Rights and Democracy Archives: TFAI preserves recordings from TNT, an early underground radio station in Taiwan. Among these materials, researchers have uncovered what is believed to be Taiwan’s first LGBTQ+ radio program, providing invaluable resources for the study of democratization and human rights diversity in Taiwan. Environmental and Ecological Materials: Early archival holdings from the Broadcasting Development Foundation contain extensive footage of native Taiwanese marine species that have since disappeared or become extremely difficult to document , making them valuable resources for direct use in environmental education.  Taiwan Film Culture Co. Newsreels: TFAI has made freely available more than 5,000 newsreels produced by Taiwan Film Culture Co. on its Open Museum digital platform. TFAI encourages museums and cultural institutions to download and incorporate these materials in various exhibitions and programs under the Creative Commons license.   Advancing digital restoration technologies and long-term preservation   During the forum, Watson LEE, Supervisor of the Division of Preservation and Restoration; CHIU Chu-yen, Head of the Department of Film Collection; and WANG Ping-chun, Head of the Department of Paper and Audiovisual Collections demonstrated TFAI’s continuously advancing digital restoration capabilities. These include addressing physical damage caused by “vinegar syndrome” in Taiwan’s high-humidity climate; using advanced wet-gate scanning to conceal minor scratches; and integrating infrared defect detection, AI-assisted voice and image recognition, and other technologies to significantly improve restoration efficiency. Digitally restored files can also be transferred back onto physical film stock as a medium for long-term preservation.    ▶ Watson LEE, Supervisor of the Division of Preservation and Restoration   During the discussion session, Joy C. N. HSIN, a board member of the Taiwan Museum Association, commended TFAI’s strategy of allowing “market demand” to guide the activation of audiovisual resources. She noted that all kinds of museums across Taiwan are increasingly focused on their own cultural histories, making them the largest and most direct potential market. HSIN encouraged museums and institutions to proactively propose curatorial projects, thereby helping to stimulate and shape TFAI’s restoration and development schedule. She also expressed her hope that TFAI would move beyond its role as an archive to become an indispensable professional partner for museums nationwide.   CHEN Wan-ping of the National Taiwan Museum’s Collection Management Department also offered feedback: As both an observer and a partner, she expressed strong admiration for TFAI’s commitment to making its digitization work publicly accessible, noting it a tremendous benefit to curatorial colleagues. Citing the National Taiwan Museum’s recent exhibition “Signals of the Times: The Stirring of Democracy and Communication Technology” as an example, she said that TFAI had provided important communication artifacts, and that the exhibition greatly benefited from audiovisual materials that enriched its narrative—precisely the kind of material that traditional museums tend to lack. She also made a pointed suggestion: In the future, TFAI could proactively package specific themes or its “special collections” and organize small-scale workshops or matchmaking events, making it easier for museum professionals to identify historical materials suited to their own institutions.  
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