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MOREEdward Yang's Restored Classic The Terrorizers Thrills Audiences at Czech Special Screenings
Edward YANG's acclaimed classic The Terrorizers (1986), which earned the director his first Golden Horse Award for Best Narrative Feature, was screened on October 8 as the closing film of the special program “Under the Same Roof: The Taiwanese New Wave” in the Czech Republic. The film kept the entire audience riveted throughout the screening, with many expressing their admiration afterward: “Who would have thought that Taiwan was already making such mind-bending and captivating films 40 years ago!” Co-organized by Taiwan's Ministry of Culture, the Taiwan Film and Audiovisual Institute (TFAI), the Taipei Economic and Cultural Office in Prague (TECO), and the Czech Republic's Národní filmový archive (National Film Archive), “Under the Same Roof: The Taiwanese New Wave” ran from September 17 to October 8 in Prague, the Czech capital renowned as one of Europe's cultural and artistic centers. The program featured restored classics by Taiwan New Cinema masters such as Edward YANG, HOU Hsiao-hsien, and TSAI Ming-liang, whose distinctive visual styles, atmospheres, and subject matter treated Czech cinephiles to an eye-opening cinematic experience. The Terrorizers received an enthusiastic response from audiences at both of its program screenings. During the post-screening discussion, event curator David HAVAS praised the film for its postmodern, metafictional approach, and political allegories, describing it as one of his favorite Taiwanese films. TFAI Chairman Arthur CHU, who also attended the event, reminded the audience that The Terrorizers is a Taiwanese film made 40 years ago. With his incisive eye and bold, forward-thinking storytelling, Edward YANG broke away from conventional narrative formulas, casting a detached gaze on the social atmosphere of that time, which appeared alienated and indifferent on the surface yet was internally on the verge of collapse. A local audience member shared that watching The Terrorizers was just as fascinating as watching the mind-bending films that have become popular in recent years, expressing amazement that Taiwan could have produced such a masterpiece 40 years ago. In response, TFAI Chairman Arthur CHU remarked that the mind-bending nature of Edward YANG's films is by no means a product of pure imagination, but stems from his penetrating observations of Taiwanese society. Looking back today, his films seem more like urban prophecies. Many audience members expressed a desire to see more, hoping to have opportunities to watch the latest Taiwanese films in the future. Arthur CHU also emphasized that this event has laid a strong foundation for collaboration with the Czech National Film Archive. Moving forward, both sides will work even harder to bring both classic and contemporary Taiwanese films to Czech audiences. This year’s “Under the Same Roof” Taiwanese film program centered on the theme of “family,” with more than a year of planning and film selection involving close coordination between the Czech National Film Archive and TFAI. The final lineup featured restored classics exploring family-related themes, including Edward YANG's The Terrorizers (1986), HOU Hsiao-hsien's The Time to Live and the Time to Die (1985), TSAI Ming-liang's Rebels of the Neon God (1992) and The River (1997), and Teenage Fugitive (1984), directed by CHANG Pei-cheng and written by TSAI Ming-liang. Curator David HAVAS remarked: “The breakdown of family relationships and the severing of emotional bonds are actually quite common in Czech society. However, compared with Taiwanese cinema, Czech films perhaps have not explored these themes in such depth.” He added that “Under the Same Roof” takes family relationships and shared living arrangements as its starting point, while also reflecting broader changes in society and international affairs. The Terrorizers won Best Narrative Feature at the 23rd Golden Horse Awards. Its enigmatic screenplay, blurring the lines between reality and fiction, was highly unusual in Taiwanese film history and remains one of Edward YANG's signature mind-bending works. YANG once explained: “The most exciting aspect of The Terrorizers is WANG An's real-life experience of making prank calls. Since the story revolves around this, there must be a married couple and a mother. This is a logical development, like a puzzle game.” Taiwan New Cinema emerged against the backdrop of rapid social transformation in the 1980s, as filmmakers experimented with new narrative approaches and alternative cinematic language to portray emotions and everyday life more authentically. By bringing stories of family relationships, generational differences, and social change to the screen, the movement attracted international attention at the time. TFAI will continue its mission of digitally restoring classic Taiwanese films, with the hope that Taiwan‘s boundless creative energy and rich cultural heritage will bring a refreshing sense of discovery to contemporary international audiences. ➤ Edward YANG's acclaimed classic The Terrorizers (1986), which earned the director his first Golden Horse Award for Best Narrative Feature, was screened on October 8 as the closing film of the “Under the Same Roof: The Taiwanese New Wave” special program in the Czech Republic. (Courtesy of TFAI) ➤ The Terrorizers (1986) received an enthusiastic audience response at both of its special screenings during the “Under the Same Roof: The Taiwanese New Wave” program. TFAI Chairman Arthur CHU (right) attended the post-screening discussion. (© Zuzana Homolka Fedorová) ➤ Local Czech audiences expressed amazement that Taiwan could have produced a masterpiece like The Terrorizers (1986) 40 years ago. (© Zuzana Homolka Fedorová) ➤ Curator David HAVAS described The Terrorizers (1986) as one of his favorite Taiwanese films. (© Zuzana Homolka Fedorová) ➤ TFAI Chairman Arthur CHU remarked that The Terrorizers (1986), a Taiwanese film made 40 years ago, showcases director Edward YANG's incisive eye and forward-thinking storytelling. (Courtesy of TFAI) ➤ The Terrorizers (1986) won Best Narrative Feature at the 23rd Golden Horse Awards and remains one of Edward YANG's signature mind-bending works. (Courtesy of TFAI) -
MOREStep into a Real-life Taiwan Travelogue! TFAI Unveils the Earliest Vlog of a Round-Island Trip, Featuring Footage of Taiwan's Railways Under Japanese Rule
Set during the Japanese colonial era, Yang Shuangzi's International Booker Prize winning novel Taiwan Travelogue follows a culinary and railway journey across Taiwan to explore profound dialectics of Taiwan's colonial history. To mark the National Heritage Day, which falls on the third weekend of September this year, the Taiwan Film and Audiovisual Institute (TFAI) unveiled a series of videos titled “Taiwan's Railways During the Japanese Colonial Period” on its official YouTube channel. The historical context and themes explored in these videos perfectly echo those of Taiwan Travelogue, while offering a rare and fascinating glimpse into Taiwan's railways under Japanese rule. In line with its Open Access policy that aims to promote public access, TFAI has been gradually releasing precious audiovisual archives from its collection. To coincide with the National Heritage Day to promote Taiwan's tangible cultural heritage, this online video exhibition uses “trains” and “railways” as key themes to showcase documentary footage of Taiwan during the Japanese colonial era. The four black-and-white silent films, each less than ten minutes long, provide modern audiences with a lively picture of Taiwan's diverse landscapes and scenic spots, as well as the railway culture in the last century. Outside the Train Window (c. 1935, filmed by the Railway Department of the Governor-General of Taiwan) features the historic Da'an River Bridge in Taichung City and the Dajia Tunnel, which was then the only railway tunnel beneath a river in Taiwan. A Pleasant Journey (c. 1936, filmed by Taiwan Travel Club) captures two travelers waiting for their friend in front of Tainan Railway Station. This film follows their journey from having their tickets checked to boarding the train. It documents the historic scenes of the sleek C55-class steam locomotive, an engine driver tossing and catching the electronic token, and track workers using pickaxes to maintain the rails. Travel by Rail (c. 1937, photographer unknown) captures the Alishan Forest Railway boarding point, the long Zhuoshui River Railway Bridge, and the Xinying Sugar Factory on the vast Jianan Plain. The final segment “A Trip to the Beach” depicts the delight of travelers heading to a seaside resort by rail. Even through the screen, viewers can sense the excitement and joyful atmosphere inside the train cars. Scenic Taiwan (c. 1937, photographer unknown) even features a sequence in which members of the Railway Department’s Military Canine Association send military dogs to the front lines, reflecting the historical context of the Marco Polo Bridge Incident which had just erupted at the time of filming. These precious images are sure to delight not only history buffs and railway enthusiasts, but also dog lovers. Interspersed throughout the film are intertitles such as “racing along the coastline in the cool breeze,” “not forgetting the hardworking railway workers behind the scenes,” and “an idyllic day-trip destination,” vividly depicting the development of Taiwan’s railway system and this island nation’s charming tourist atmosphere. Issue 208 of the Film Appreciation Journal features a special project titled “Outside the Train Window—A Collection of Footage of Taiwan’s Railways During the Japanese Colonial Period,” inviting cultural and historical experts to analyze the historical context and social realities of the time through the footage and present their preliminary research findings. At that time, Taiwan was under Japanese colonial rule. As symbols of modernization, these railway films served not only to promote tourism, but also to showcase local produce and infrastructure, including new stations, routes, and train models, through the ever-changing scenery outside the train windows. Plus, they document the various tasks involved in maintaining railway operations. The colonial authorities’ propagandistic intentions were therefore evident. The opening of Travel by Rail also features two newsreel segments: the triumphant return of the Japanese reconnaissance aircraft “Kamikaze” (Divine Wind) at Taipei Airport and the swimming competition between Taiwan and the Philippines, highlighting Japan's industrial strength and diplomatic achievements at the time. Following last year's release of Formosa, the earliest documentary about Taiwan, TFAI has now released this series of videos about Taiwan's railways during the Japanese Colonial Period. Footage from ninety years ago continues to bring surprises. Du Li-chin, Executive Director of TFAI, stated, “Over the next five years, TFAI will carry out its public mission based on three core objectives—'Centering Taiwan,’ ‘Archiving Time,’ and ‘Accessing Memory’—with Open Access project as a concrete manifestation of this commitment. As we view these four railway films made between 1935 and 1937, we are required to confront the historical context in which they were made. By that time, Japan had already ruled Taiwan for forty years, and in 1935, the Taiwan Governor-General’s Office showcased the empire’s achievements of its colonial development and promotion through the Taiwan Exposition: In Commemoration of the First Forty Years of Colonial Rule. These railway films are by no means mere scenic records; rather, they are deeply imprinted with the imperial gaze of colonial power. Today, we are archiving and making this collection of footage available to the public precisely to encourage people to look beyond the rulers' gaze, see the political context behind it, and unearth the collective memory of the Taiwanese people, thereby reclaiming our own right to interpret history.” Believing that valuable historical discoveries can often come from the public, TFAI views the digitization of archives and the interpretation of information as merely the first step. We look forward to the public sharing and discussing these images after their release, uncovering more historical details and unexpected discoveries through contemporary perspectives. The YouTube List of Taiwan's Railways During the Japanese Colonial Period:https://tfaitw.pse.is/9m3xln Issue 208 of Film Appreciation Journal: https://tfaitw.pse.is/9m3xrn ➤ Pic1: An image from Outside the Train Window (c. 1935, filmed by the Railway Department of the Governor General of Taiwan), highlighting the progress of the railway system and the train speeding along the tracks. (Courtesy of TFAI) ➤ Pic 2: An image from Outside the Train Window (c. 1935, filmed by the Railway Department of the Governor General of Taiwan), featuring the historic Da’an River Bridge in Taichung City. (Courtesy of TFAI) ➤ Pic 3: An image from Travel by Rail (c. 1937, photographer unknown), showcasing the newsreel of the swimming competition between Taiwan and the Philippines. (Courtesy of TFAI) ➤ Pic 4: An image from Travel by Rail (c. 1937, photographer unknown), offering a glimpse of the travelers heading to the seaside resort by train. (Courtesy of TFAI) ➤ Pic 4: An image from Travel by Rail (c. 1937, photographer unknown), offering a glimpse of the travelers heading to the seaside resort by train. (Courtesy of TFAI) ➤ Pic 6: An image from A Pleasant Journey (c. 1936, filmed by Taiwan Travel Club), capturing two travelers waiting for their friend in front of Tainan Railway Station. (Courtesy of TFAI) ➤ Pic 7: An image from A Pleasant Journey (c. 1936, filmed by Taiwan Travel Club), showing an engine driver tossing and catching the electronic token. (Courtesy of TFAI) ➤ Pic 8: An image from A Pleasant Journey (c. 1936, filmed by Taiwan Travel Club), showing track workers using pickaxes to maintain the rails. (Courtesy of TFAI) ➤ Pic 9: An image from Scenic Taiwan (c. 1937, photographer unknown), showcasing members of the Railway Department’s Military Canine Association sending military dogs to the front lines. (Courtesy of TFAI) ➤ Pic 10: An image from Scenic Taiwan (c. 1937, photographer unknown) in which the appearance of a military dog reflects the historical context of the Marco Polo Bridge Incident that had just erupted at the time of filming. (Courtesy of TFAI) ➤Pic 11: Issue 208 of the Film Appreciation Journal features a special project titled “Outside the Train Window—A Collection of Footage of Taiwan’s Railways During the Japanese Colonial Period.” (Courtesy of TFAI) ➤ Pic 12: Issue 208 of the Film Appreciation Journal features a special project titled “Outside the Train Window—A Collection of Footage of Taiwan’s Railways During the Japanese Colonial Period,” inviting cultural and historical experts to analyze the historical footage. (Courtesy of TFAI) -
MOREMaking Cinema Accessible to All: TFAI Invests in Professional Audio Description to Create a Truly Inclusive Cinema Experience.
This year 2026 marks the 70th anniversary of Taiwanese-language cinema, and the Taiwan Film and Audiovisual Institute (TFAI) has launched a year-long program “Formosa Treasure: Taiyupian as World Cinema” featuring a series of events. Meanwhile, to promote the cultural accessibility and foster diversity, equity, and inclusion (DEI), TFAI selected director LEE Hsing’s Good Neighbors (1962), which was restored by TFAI in 2025, to produce the world’s first restored film with Taiwanese-language audio description. This groundbreaking film had its world premiere today (August 12th ). Florence CHAO, an experienced audio description professional, was invited to explain the importance of audio description. Six guide dogs from the Huiguang Guide Dog School also joined the audience in the theater. Through this event, TFAI announced its commitment to the “Project for the Production of Audio Descriptions for Classic Taiwanese Films and the Promotion of Inclusive Access,” inviting more audiences to step into the golden age of Taiwanese-language cinema. As new movies and drama series are constantly being released, audio description services enable visually impaired individuals who primarily rely on their hearing to enjoy brilliant film and TV works like everyone else. With its mission to promote cultural accessibility, TFAI selected director LEE Hsing’s Taiwanese-language film Good Neighbors as the starting point for initiating the “Project for the Production of Audio Descriptions for Classic Taiwanese Films and the Promotion of Inclusive Access.” Arthur CHU, the Chairperson of TFAI, noted that, “We chose Good Neighbors not only to celebrate the 70th anniversary of the Taiwanese-language films, but also to commemorate the fifth anniversary of director LEE Hsing’s passing, which falls on August 19, just one week later.” He added, “To mark the 70th anniversary of the Taiwanese-language films this year, TFAI invited the Golden Melody Award-winning singer Ricky HSIAO to compose the theme song ‘Let’s Catch a Movie’ for the whole program. We invite all audiences to open their five senses and ‘watch movies with their hearts.’ Audio description services embody this spirit, helping TFAI to achieve our goals of cultural and language accessibility.” Hopefully, the joys and sorrows portrayed in these great works will transcend age and ethnicity, becoming irreplaceable shared memories for all. LU Mei-li, the Deputy Director-General of the Bureau of Audiovisual and Music Industry Development also attended the event to show her support. She remarked, “The film Good Neighbors is a story about ethnic inclusion. It signifies the spirit of Taiwan, which we hope to pass down through these films. What makes today’s premiere more special is that this is the very first Taiwanese-language film with audio description produced by TFAI, representing its efforts to put into practice our firm belief that all people should have the opportunity to engage with and learn about our culture.” While streaming platforms have introduced audio description services in recent years, TFAI is also committed to meeting the diverse needs of audiences, in addition to its persistent dedication to the digital restoration of classic films. By providing accessible audiovisual content to fulfill a vision of cultural inclusion, TFAI has marked an important milestone in the development of Taiwanese film restoration and audio description services. TFAI has specially produced two versions of audio description for Good Neighbors, one in Taiwanese and the other in Mandarin. The bilingual versions echo a scene in the film, in which Dr. Huang, a Western-trained physician from a native Taiwanese family, and Dr. Chen, a Chinese medicine practitioner from a mainland Chinese immigrant family, live next door to each other while their families communicate in different languages. This lively and multilingual comedy full of humorous exchanges highlights the importance of professional audio description. To avoid overlapping with the film’s original dialogue and sound, audio descriptions must be inserted during appropriate pauses to convey the complicated visual images within a very limited amount of time. At the world premiere, Ms. CHAO explained that audio description is essentially a form of translation, “Except that our service is particularly tailored for people with visual impairments.” Interestingly, audio description also provides audiences with additional information that may otherwise go unnoticed when watching a film. In Good Neighbors, for example, the audio description specifically identifies Rose Marie, a well-known Western-style restaurant in Taipei during the 1950s and 1960s. In another scene, when the characters go on a date at the zoo, the audio description identifies the filming location as the former Taipei Zoo at Yuanshan and notes that two Asian elephants appearing on the screen are Lin Wang and Ma Lan. These supplementary details are like surprisingly cinematic Easter eggs for audiences. Following Good Neighbors, TFAI will continue to produce audio descriptions for classic Taiwanese films. Through the Project which is funded by the Bureau of Audiovisual and Music Industry Development under the Ministry of Culture, TFAI plans to release audio description versions of director CHEN Yu-hsun’s Tropical Fish (1995), as well as Back to Anping Harbor (1972), Dragon Inn (1967), The Sandwich Man (1983), and The Wedding Banquet (1993). TFAI will also make audio description equipment available for public use. Audiences interested in using the service are welcome to inquire at the reception desk on the first floor before the screening. ➤ TFAI selected director LEE Hsing’s Good Neighbors to produce the world’s first film with Taiwanese-language audio description. Back row from left: CHEN Chuan-huei, the producer of disability-focused TV shows from Public Television Service; SU, Chia-yu, the family representative of director LEE Hsing; DU Li-chin, the Executive Director of TFAI; LU Mei-li, the Deputy Director-General of the Bureau of Audiovisual and Music Industry Development; Arthur CHU, the Chairperson of TFAI; Florence CHAO, the instructor of audio description services; YANG Sheng-hong, the President of the Inclusive Freedom Association; HUANG Yu-siang, the pianist and the winner of the Golden Melody Award for Best Composer; TAN Hong-hui, the CEO of the Li Kang Khioh Taiwanese Cultural and Educational Foundation. (Courtesy of TFAI) ➤ Arthur CHU, the Chairperson of TFAI, noted that, “TFAI invites audiences to open their five senses and ‘watch movies with their hearts.’ Audio description services embody this spirit, helping TFAI to achieve our goals of cultural and language accessibility.” (Courtesy of TFAI) ➤ LU Mei-li, the Deputy Director-General of the Bureau of Audiovisual and Music Industry Development remarked that, “We firmly believe that all people have the opportunity to engage with and learn about our culture.” (Courtesy of TFAI) ➤Florence CHAO, the audio description instructor explained the importance of audio description in the theater. (Courtesy of TFAI) ➤ HUANG Yu-siang, the pianist and the winner of the Golden Melody Award for Best Composer, also showed up to support audio description services. (Courtesy of TFAI) ➤ Good Neighbors, the world’s first film with Taiwanese-language audio description, had its premiere. Six guide dogs from the Huiguang Guide Dog School also joined the audience in the theater. (Courtesy of TFAI) ➤ TFAI announced its commitment to the “Project for the Production of Audio Descriptions for Classic Taiwanese Films and the Promotion of Inclusive Access” to create an inclusive venue where everyone can enjoy cultural activities together. (Courtesy of TFAI) -
MORESame-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.