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and Taiwan) in order to meet a growing interest in the subject among students as well as scholars of various disciplines. The series examines cultural production in East Asian countries, both individually and collectively, as its popularity extends beyond the region. It continues the scholarly discourse on the recent prominence of East Asian popular culture as well as the give and take between Eastern and Western cultures.

Is the style of the Taiwanese film director Hou Hsiao-hsien Chinese? This question seems innocent enough, maybe even redundant to those who find its answer to be self-evident. In fact, more and more the critical and scholarly literature on Hou has answered largely in the affirmative without exploring the deeper assumptions upon which this conclusion rests. Godfrey Cheshire, for example, says that in turning away from plot and character, and focusing more on objects and settings, Hou is returning to a longstanding, older tradition in Chinese art and culture.