New Books in Chinese Studies

When the Taiwanese political drama Wave Makers appeared in April 2023, few anticipated its impact beyond the screen. Within weeks, survivors in politics, the media, academia and the arts began sharing experiences of sexual harassment and assault, giving momentum to Taiwan’s long-delayed #MeToo movement.
XinLing Li’s new book, Wave Makers and the Rise of #MeToo in Taiwan: Media, Empathy, and Digital Testimony (Anthem Press, 2026), asks how a fictional series became a cultural catalyst. Li argues that the drama gave form to experiences that had remained unspoken, while social media allowed personal testimony to circulate without institutional permission.
The book is part of the new short-book series, ‘Anthem Impact in Asian Media, Cinema and Communications’.
In this podcast, Dr Ming-yeh T. Rawnsley talks with Dr Li about television, empathy, digital testimony, and the opportunities and inequalities within Taiwan's #MeToo movement. Themes include:
Why Taiwan’s #MeToo movement came late - the gap between progressive laws and the cultural conditions that still discourage survivors from speaking.
The ‘perfect victim’ - how Wave Makers challenges the assumption that only women who conform to conventional ideas of femininity deserve belief and justice.
The feminist snap - why the line ‘Let’s not just let it go this time’ gave viewers a language for recognising accumulated injustice.
Empathy and narrative identity - how fictional characters help audiences interpret their own experiences and respond to others.
Digital testimony and affective publics - how social media weakens traditional gatekeeping while introducing new risks and struggles for attention.
Women’s solidarity - how the drama examines agency, family relationships and the historical expectation that women define themselves through men.
The limits of visibility - why migrant domestic workers remain especially vulnerable and often unable to speak without risking their livelihoods or immigration status.
One of the book’s most compelling arguments is that art can give structure to what Raymond Williams called ‘emergent feelings’: experiences without an accepted public language. Through recognisable characters and an accessible story, Wave Makers transformed a familiar instruction to remain silent – ‘just let it go’ – into a shared refusal.
The podcast also considers how the hashtag changes testimony. Survivors can now address audiences directly, rather than relying entirely on journalists and other institutional gatekeepers. Yet visibility remains uneven. Stories involving celebrities and senior politicians attract attention more readily than those of migrant domestic workers, who may face dismissal, loss of visa status or deportation if they speak publicly.
Li is cautious about treating Wave Makers as a formula for political change. No television programme can produce a movement on demand. Popular culture can nevertheless offer language and recognition when audiences are ready to respond.
The story of Wave Makers is ultimately about the unpredictable movement between fiction and public life: a drama helped people recognise experiences they had been encouraged to dismiss, while digital platforms allowed the words ‘me too’ to become testimony, solidarity and action.
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’.
Dr Xinling Li is an independent scholar based in New York. He studied at Cambridge University.

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How was drama experienced in early modern China? It was not tied to a single medium such as the page or the stage, but operated in a media ecology—an environment in which it integrated other arts and media while being refashioned in a variety of arts and media. Playing with Plays: Drama and Early Modern Chinese Media Ecologies (Brill, 2025)
explores a wide range of cultural experimentation, collectively termed “playing with plays:” the theatricality embedded in commentary, the poetic and visual imagination arising from drama illustrations, the interactions between reading and singing arias, the imbrication of reading plays and practicing religion, and the ludic act of writing playful essays on drama. Through engaging these disparate phenomena with media studies, the book advances a new model for thinking about drama history, and shows the entwinement of plays and different forms of media in shaping perception, molding experience, and enabling new subject positions to emerge in early modern China.

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China’s early medieval period, from the fifth through the early seventh century, from the Northern and Southern Dynasties through the unified Sui, was a time of political fragmentation, military strife, and ethnic conflict. It also witnessed brilliant artistic creations as well as a full flowering of court culture, with poetry at its heart. How did poetry come to be regarded as the most potent form of cultural capital, a privileged literary genre, and a foundational skill for members of the elite? How was poetry transformed from an instrument of empire building to a venue for articulating personal trauma and voicing critique of the state?
Tracing the evolution of poetry’s role in Chinese society, Writing Empire and Self: Poetic and Cultural Transformation in Early Medieval China (Columbia University Press, 2026) uncovers the profound cultural changes that took place in the early medieval era. Dr. Xiaofei Tian argues that in this period, a social community, eventually known as the “scholar elite” and treated as if it had always been a permanent fixture of the Chinese social order, came into being. She investigates the formation of this community, which left its mark on all later Chinese arts and letters, through a careful account of its history and textual production. Combining meticulous readings of numerous previously untranslated texts with a long-term, large-scale view of social and cultural history, Writing Empire and Self offers a fresh perspective on poetry’s intricate relationship with the state.
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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During the eventful summer of 2019 in Hong Kong, the Be Water Revolution formed to resist the proposed extradition of fugitives to mainland China’s courts. With its name derived from martial arts master Bruce Lee’s adage “formless and shapeless like water,” the incident turned out to be the city’s largest episode of contentious politics and was unique for using impromptu communication among participants and the absence of central leadership.

In Be Water: Collective Improvisation in Hong Kong's Anti-Extradition Protests (Temple University Press, 2025), Dr. Ming-sho Ho examines the dynamics of the city-wide uprising from the perspective of agency power. He seeks to understand how numerous and anonymous Hongkongers contributed to this epoch-making campaign as well as how they responded to the full-scale state repression that enveloped them. Dr. Ho praises and questions the durability of the inventive Be Water Revolution and how the activists encouraged protests spontaneously, through interpersonal networks and by voluntarily collaborating with strangers at great personal risk.

Dr. Ho posits a new concept of “collective improvisation” to make sense of such a decentralized yet creative way of protesting. Be Water seeks to understand the rise and long afterlife of this movement and illustrate its efficacy. As Dr. Ho shows, these dynamics of collective improvisation have implications for contemporary protest movements around the world.

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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At its core, China in African Media: Between Influence Operations and Decolonization (Bloomsbury, 2026) is a book about power, journalism, geopolitical influence, and knowledge production in China–Africa relations. It examines how the People’s Republic of China has moved beyond simply establishing Chinese media organizations such as Xinhua and CGTN in Africa toward a much more dispersed system of engagement. Conceptualizing these engagements collectively as a multimodal or mixed-media ecology of influence, Umejei highlights China’s ability to reach African audiences directly through Chinese media, indirectly through African news organizations, institutionally through partnerships, professionally through the journalists it trains, and infrastructurally through technologies implemented by Chinese firms.

Underlying the book is a strong normative concern about the implications of this expansion of Chinese media engagement for Africa’s democracy, leadership, developmental aspirations, and decolonization. In this regard, Umejei addresses the question: Is the emerging South–South media relationship helping to decolonize African journalism by weakening Western dominance, or is China principally replacing Western influence with a new form of Chinese influence? The book draws on semi-structured interviews with journalists across fourteen African countries, content analysis, policy documents, and publicly available materials.
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