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Taiwan is in danger of becoming the last isle, losing its sovereignty and identity.The Last Isle opens from where Taiwan film scholarship leaves off--the 1980s Taiwan New Cinema, focusing on relatively unknown contemporary films that are \"unglobalizable,\" such as Cape No.7, Island Etude, Din Tao, and Seven Days in Heaven.

In Cinema at the Crossroads: Nation and the Subject in East Asian Cinema, Hyon Joo Yoo argues that East Asian experiences of colonialism and postcolonialism call for a different conceptualization of postcoloniality, subjectivity, and the nation. Through its analyses of Japanese, Korean, and Taiwanese cinemas, this engaging study of cinema and culture charts the ways in which national cinemas visualize colonial and postcolonial conditions that derive from the history of Japanese colonialism and the post-war alliance between Japan and the United States. What does it mean to rethink postcolonial studies through East Asian cinema and experience? Yoo pursues this question by bringing an East Asian postcolonial framework, the notion of film as a manifestation of national culture, and the methodology of psychoanalysis to bear on a failed hegemonic subject. Cinema at the Crossroads is a profound look into how cinema and national culture intertwine with hegemony and power.

The article discusses the representation of Hồ Chí Minh in modern Vietnamese cinema from 1990 to the present. The first feature film on Hồ Chí Minh's life was produced only in 1990, 31 years after his death. Since then, 6 more films have appeared. I explore the reasons why there were no feature films about Hồ Chí Minh before 1990 and why they eventually began to appear. I address the filmmakers’ attempts to reintroduce Hồ Chí Minh, especially to younger generations who know of him only through propaganda depicting him as a celibate paragon of virtue and through viewing his embalmed body in the Mausoleum he had objected to. I argue that these cinematographic projects to promote Hồ Chí Minh to younger Vietnamese have done very little to develop, or even maintain, his personal cult, a cult that the state endeavours to exploit to (re)establish its connection to the people, to overcome a prolonged crisis of legitimacy, and to garner popular support for the continuing leadership of the Vietnamese Communist Party. The market economy and openness to the world have inevitably undermined the Hồ Chí Minh cult and ideological constructs supporting it.

The transgenerational ghosts of trauma from war, death and injustice within Chinese twentieth century history are carried through the remembrances and silences of mediated, diasporic visions of memory. These ghosts are visible through Chinese cinema at the intersection of modern China’s national interests, issues of power and the transnational distribution/production of official memory. These relations also suggest an insistence to produce particular national, unified identifications within the collective imaginations of spectators across generations in the Chinese diaspora. While some national wounds are ‘chosen’ and remembered (for example, Western colonialism, Imperial Japanese invasion), other collective traumas continue to be disavowed through cinematic memory productions. In response to these issues of historical rewriting and memory production, I propose alternate ways of seeing cinema through a critical autoethnography that juxtaposes other mediations of memory. I explore how this approach to cinema spectatorship enables diasporic subjects to interrogate how affective trauma transmits unconsciously across generations.

China's Contemporary Taipei Theatre Laboratory, a \"collage\" of dance, film and drama, is profiled. The group experimented with \"theater democracy\" by handling both administrative and creative work collectively.

Excerpts from an interview with George Clooney, Paul Haggis, Ang Lee, Bennett Miller and Steven Spielberg--the directors who \"made the most moving, provocative films of [2005]\" (Newsweek)--are provided. \"None of these filmmakers played it safe this year, taking risks with stories that were radical, controversial and divisive. Critics often groan that modern movies pander to middlebrow sensibilities, and fret that smart movies are being killed by candy-coated kid fare. These men prove them wrong. During a funny, fascinating two-hour conversation, these directors were as uncensored as their films, taking on the Middle East, explaining why President Bush has been good for filmmaking and opening up about everything from their worst reviews to the importance of keeping actors nervous.\"