- 期刊
晚期風格的逆滲透：林松輝《台灣電影軟實力：作者身份、跨國屬性、歷史編撰學》書評
Late Style and Its Infiltration: A Review of Taiwan Cinema as Soft Power: Authorship, Transnationality, Historiography
參考文獻
Lim, Song H. Taiwan Cinema as Soft Power: Authorship, Transnationality, Historiography.
New York: Oxford UP, 2022.
蘇致亨（Su, Chih-heng）。〈我就是聽到「新電影40」或「民歌50」就心煩——讀《未來的光陰：給台灣新電影四十年的備忘錄》〉“Wo jiushi tingdao ‘xindianying sishi’ huo ‘minge wushi’ jiu xinfan—Du Weulai de guangyin: Gei Taiwan xindianying sishi nian de beiwanglu” [I Am Just Annoyed by Phrases Like “40 Years of New Cinema” or “50 years of Folksong Movement”: Reflections on The Future of Time: Memos for 40 Years of Taiwan New Cinema]。《博客來OKAPI閱讀生活誌》Bokelai OKAPI yuedu shenghuo zhi [OKAPI]。2022年6月30日。網路。2022年7月30日 [30 June 2022. Web. 30 July 2022]。
Casetti, Francesco. The Lumière Galaxy: Seven Key Words for the Cinema to Come. New York:
Columbia UP, 2015.
Edney, Kingsley, Stanley Rosen, and Ying Zhu. Soft Power with Chinese Characteristics: China’s Campaign for Hearts and Minds. Abingdon, Oxon: Routledge, 2020.
Tweedie, James. The Age of New Waves: Art Cinema and the Staging of Globalization. New York: Oxford UP, 2013.
延伸閱讀
- 蕭阿勤（2005）。台灣文學的本土化典範：歷史敘事、策略的本質主義與國家權力。文化研究，(1)，97-129。https://doi.org/10.6752/JCS.200509_(1).0004
- 林運鴻（2018）。前衛文類的歷史軌跡：反思「台灣後現代小說」的西方根源與在地實踐。東海中文學報，(35)，85-126。https://www.airitilibrary.com/Article/Detail?DocID=10242287-201806-201812170004-201812170004-85-126
- 張怡寧（2011）。歷史記憶建構的「民族」意涵：李喬台灣歷史書寫的認同流變與文學展演〔碩士論文，國立清華大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0016-0107201116081545
- 葉月瑜（1999）。Taiwan New Cinema: The Other Nativism。中外文學，27(8)，43-67。https://doi.org/10.6637/CWLQ.1999.27(8).43-67
- Richard, T. A. M. (2022). Redefining Taiwan New Cinema as Borderless Transcultural Cinema from Taiwan. Tamkang Review, 52(2), 71-98. https://doi.org/10.6184/TKR.202206_52(2).0004