New Books in Chinese Studies

Taiwanese cinema is internationally celebrated for the
auteurs of the Taiwan New Cinema. Yet over the past fifteen years,
ghosts, demons, curses and haunted screens have become increasingly
prominent, turning horror from a marginal genre into an important strand
of Taiwan’s popular cinema.

Professor Corrado Neri’s new book, Taiwanese Horror Cinema in the 21st Century: Spectral Narratives and Screen Culture (Anthem
Press, 2026), explores this transformation. Neri argues that Taiwanese
horror has reached a new stage of maturity: it is now an established
industrial category, has diversified across genres and media, and has
developed a sophisticated capacity to address Taiwan’s social,
historical and technological anxieties.

The book also launches the new short book series, ‘Anthem Impact in Asian Media, Cinema and Communications’.

In this podcast conversation, Dr Ming-yeh Rawnsley talks
with Professor Neri about what Taiwanese horror can tell us about Taiwan
itself. Their discussion moves from ghosts and folklore to democracy,
historical memory, digital culture and changing understandings of
identity. Themes include:

Why horror? – how a once-marginal genre became an important part of Taiwanese cinema.

Taiwan as a ‘Ghost Nation’ – why ghosts offer powerful ways of thinking about Taiwan’s contested history and identity.

Horror,
democracy and historical memory – how liberalisation opened new
possibilities for confronting difficult histories, notably the White
Terror in Detention.

Religion,
folklore and the supernatural – how beliefs, rituals and local legends
provide filmmakers with distinctive cultural resources.

Digital ghosts – how smartphones, social media, gaming and screen culture have transformed haunting.

Gender, sexuality and queer horror – how films such as Marry My Dead Body use supernatural conventions to explore changing social identities.

Taiwan
within Asian horror cinema – how Taiwanese filmmakers engage with
regional traditions while developing recognisably local forms.

One of the book’s most compelling arguments is that the
supernatural provides a productive language for exploring Taiwan’s
relationship with its past and present. Detention transforms the political violence of the White Terror into a spectral landscape of memory, guilt and historical reckoning. The Tag-Along, The Rope Curse and Incantation bring folklore and ritual into contact with cameras, smartphones and social media.

Taiwanese horror is also transmedial. Detention moved from video game to feature film, television series and novel; The Bridge Curse and Incantation have extended into gaming, while The Tag-Along
has expanded into webtoon and virtual reality. Horror thus forms part
of a wider creative ecosystem in which cinema intersects with digital
media, popular culture and Taiwan’s cultural-content industries.

Taiwanese horror therefore deserves attention beyond horror
enthusiasts or film specialists. These films frighten, surprise and
sometimes make audiences laugh, but their ghosts also carry history.
They negotiate memories of authoritarianism and democratisation,
questions of gender and sexuality, and move between temples, cinemas,
video games and smartphone screens.

The ghosts haunting contemporary Taiwanese cinema are
rarely just ghosts. They offer another way of asking questions about
Taiwan: how the past survives in the present, how identities are
continually remade, and how a rapidly changing society chooses to
remember—and imagine—itself.

Dr Ming-yeh T. Rawnsley is a Research Associate at the
Centre of Taiwan Studies, SOAS University of London, and a host for the
New Books Network. She is also a co-editor (with Professor Gary
Rawnsley) of the short book series, ‘Anthem Impact in Asian Media,
Cinema and Communications’.
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Savage: The Making of Modern Dogs in British Hong Kong
(Cornell University Press, 2026) explores the dark side of colonial
modernity through canine eyes, showing the many ways that dogs
involuntarily contributed to the modernization of twentieth-century Hong
Kong. Dr. Catherine S. Chan follows the piecemeal transplantation of
British animal humanitarianism as pedigree dogs accompanied hardening
class differences, dogmeat became a contested racial issue, and dogs
were roped into the long list of undesirables fabricated in the
so-called golden era of reforms following the social disturbances of the
1960s.

Dr.
Chan reveals a fragmented civilizing project that constructed dogs as
dangerous, filthy, and unnecessary nuisances in a burgeoning city,
rationalizing the slaughter of tens of thousands of dogs alongside
paradoxical criticism of the native population for perpetrating animal
cruelty and the promotion of British animal humanitarianism. Departing
from anthropocentric perspectives in understanding the use of
Britishness in the molding of modern cities, Savage
restores the presence and agency of dogs to encourage a rethinking of
the patchiness of British colonial governance and the long-lasting
repercussions that modernity can have on our relationship with animals.

This interview was conducted by Dr. Miranda Melcher whose book
focuses on post-conflict military integration, understanding treaty
negotiation and implementation in civil war contexts, with qualitative
analysis of the Angolan and Mozambican civil wars. You can find
Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts. 
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The Springs-and-Autumns period is a strange period in Chinese history. Coming after the decline of the Zhou, and before the famous Warring States Period, this period of Chinese history features a large number of small states with no powerful hegemon, no strong sense of the mandate of heaven, rules of chivalry that wouldn’t seem out of place in medieval Europe, and roles passed down through lineage–and not awarded on the basis of merit.

Historian Yuri Pines calls this period China’s "aristocratic age” in his book titled, appropriately, China's Aristocratic Age: Politics and Power in the Springs-and-Autumns Period (Princeton UP, 2026).

Yuri Pines is the Michael W. Lipson Chair in Chinese Studies at Hebrew University of Jerusalem. He is the author of The Everlasting Empire: The Political Culture of Ancient China and Its Imperial Legacy, The Book of Lord Shang: Apologetics of State Power in Early China, Zhou History Unearthed: The Bamboo Manuscript Xinian and Early Chinese Historiography, and other books.

You can find more reviews, excerpts, interviews, and essays at The Asian Review of Books, including its review of China’s Aristocratic Age. Follow on Twitter at @BookReviewsAsia.

Nicholas Gordon is an editor for a global magazine, and a reviewer for the Asian Review of Books. He can be found on Twitter at @nickrigordon.
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Why have Finland’s biggest multinationals teamed up to create a globally unique analysis hub just to decode the future of China? Meet the analysts who are nurturing the next generation of Finnish expertise to bridge the gap between Nordic business and Chinese policy.

In this episode, Julie Yu-Wen Chen at the University of Helsinki talks to Kevin Broady, Marleena Makkonen and Anton Karppanen, three analysts from the China Office of Finnish Industries to understand their mission. The China Office of Finnish Industries acts as a unique nonprofit designed to assist Finnish multinational corporations in navigating the complex geopolitical and economic landscape of the People’s Republic of China. Established in 2022, the organization provides deep strategic analysis on shifting Chinese industrial policies, labor market trends, and the inherent risks of doing business in an increasingly politicized global market. Their work focuses on helping companies understand growing political complexities amid trade tensions while adapting to China's growing influence on international trade. The office is also dedicated to nurturing the next generation of Finnish China analysts through a specialized trainee program for university students. By bridging the gap between academic expertise and corporate decision-making, the team fosters a more sophisticated understanding of how Chinese domestic developments impact Nordic prosperity.

Julie Yu‑Wen Chen is Professor of Chinese Studies and Director of the Master’s Programme in Area and Cultural Studies at the University of Helsinki in Finland. Her new book, Global Knowledge Production about China, explores how the practice of “China‑watching” has evolved over the decades. The book is freely accessible online.

The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the following academic partners: Asia Centre, University of Tartu (Estonia), Asian studies, University of Helsinki (Finland), Centre for Asian Studies, Vytautas Magnus University (Lithuania), Centre for East Asian Studies, University of Turku (Finland), Centre for East and South-East Asian Studies, Lund University (Sweden) and Centre for South Asian Democracy, University of Oslo (Norway).

We aim to produce timely, topical and well-edited discussions of new research and developments about Asia.
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With commentary on the emergence of a ‘multipolar’ world, of
transatlantic rifts and the rise of ‘middle powers’ ubiquitous, tales of
the decline of something called ‘the West’ seem to be everywhere. Yet
the meanings the idea of ‘the West’ acquires in spaces beyond it tell us
at least as much about the state of the world as portents of its
demise.

Based on a combination of cultural analysis of historical
writings and—most strikingly—deep immersion in often very spicy Chinese
social media fora, Chenchen Zhang’s new book Easting the West: Theorizing the Postliberal Conjuncture from China (Oxford
University Press, 2026) theorises the shifting significations ascribed
to ‘the West’ in China since the late-imperial collision with European
empires. Whether imagined as a source of modernity, a colonial
exploiter, geopolitical rival or—most recently—a civilisation sunk into
decadence and decay, ‘the West’—Zhang shows—is a foil for China-based
worldviews which, whatever their anticolonial or anti-Western
sentiments, are also entangled with Eurocentric hierarchies of race,
nation and gender whose patriarchal and civilisational histories are
rooted at least partly that very same ‘West’.
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