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Global Chinese Culture
Representing Atrocity in Taiwan: The 2/28 Incident and White Terror in Fiction and Film
In 1945, Taiwan was placed under the administrative control of the Republic of China, and after two years, accusations of corruption and a failing economy sparked a local protest that was brutally quashed by the Kuomintang government. The February Twenty-Eighth (or 2/28) Incident led to four decades of martial law that became known as the White Terror. During this period, talk of 2/28 was forbidden and all dissent violently suppressed, but since the lifting of martial law in 1987, this long-buried history has been revisited through commemoration and narrative, cinema and remembrance.
Drawing on a wealth of secondary theoretical material as well as her own original research, Sylvia Li-chun Lin conducts a close analysis of the political, narrative, and ideological structures involved in the fictional and cinematic representations of the 2/28 Incident and White Terror. She assesses the role of individual and collective memory and institutionalized forgetting, while underscoring the dangers of re-creating a historical past and the risks of trivialization. She also compares her findings with scholarly works on the Holocaust and the aftermath of the atomic bombings of Japan, questioning the politics of forming public and personal memories and the political teleology of "closure." This is the first book to be published in English on the 2/28 Incident and White Terror and offers a valuable matrix of comparison for studying the portrayal of atrocity in a specific locale.
Drawing on a wealth of secondary theoretical material as well as her own original research, Sylvia Li-chun Lin conducts a close analysis of the political, narrative, and ideological structures involved in the fictional and cinematic representations of the 2/28 Incident and White Terror. She assesses the role of individual and collective memory and institutionalized forgetting, while underscoring the dangers of re-creating a historical past and the risks of trivialization. She also compares her findings with scholarly works on the Holocaust and the aftermath of the atomic bombings of Japan, questioning the politics of forming public and personal memories and the political teleology of "closure." This is the first book to be published in English on the 2/28 Incident and White Terror and offers a valuable matrix of comparison for studying the portrayal of atrocity in a specific locale.
256 pages, Hardcover
First published November 1, 2007
45 people want to read
About the author
Sylvia Li-Chun Lin
41 books12 followersSylvia Li-Chun Lin is Associate Professor at the University of Notre Dame, and co-translator of the 2010 Man Asian Literary Prize-winning novel, Three Sisters by Bi Feiyu. She teaches modern and contemporary Chinese literature, film, and culture. Her research interests include Western missionaries and Chinese women, women and new culture in early twentieth-century China, language and identity in Taiwan, and narrative theory. A winner of the Liang Shih-chiu Literary Translation Prize, she also co-translated Chu T’ien-wen’s Notes of a Desolate Man, winner of the 1999 ‘Translation of the Year’ award from the American Literary Translators Association.
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September 8, 2023
The events of February 28, 1947, and the subsequent days thereafter in Taiwan (collective referred to as the 2-28 Incident) and the 38 years of government-sponsored white terror on its citizens, from 1949 to 1987 when martial law was lifted, are key events and epochs in Taiwan’s history.
During the years of white terror, the government suppressed mention of the 2-28 Incident, disappearing or locking up for years people challenged the government or spoke of the events.
After nearly forty years of silence, events of the past were often shrouded in lack of information or people's memories. Some victims refuse to speak of those days.
How, then, do authors and film makers present events of these times? In this book, the author “examines the politics, strategies, and pitfalls of literary and cinematic renditions of Taiwan’s past.” (p173).
Her book is partition in two major sections, literary presentation and cinematic re-creation. Below I list of the book’s topics, by chapter. In each chapter, she discusses a few key books or films, giving a (partial) synopsis of each, then discussing the work’s rendition of events, often using criticism by others.
The author also makes clear the limitation of works that were completed before 1987, the end of martial law. Prior to and slightly after 1987, the authors or directors had to be clever in the representations of “taboo” events, such as 2-28 or later, the Kaohsiung Incident of 1979. During that time, artists and citizens self-censored to avoid imprisonment.
Other issues discussed are the “ethnic” tensions between mainlanders (those who came from China with Chiang Kai-shek in his retreat after the defeat by the Communists in 1949) and those who had arrived before, collectively referred to as Taiwanese (but even here, there are different ethnicities and origins).
The author has put a great deal of study into interpreting the works she discusses, exploring how events in the past can be represented and to look at how distance from the end of martial law changes those representations.
A theme that arises in some of the stories is the generational gap between those who lived through the times and fought for freedom and human rights and the younger generation that did not have that experience.
We also see discussion of the roles women play in representing the atrocities. As noted, the vast majority of individuals killed or imprisoned were men. So, women suffered multiple times, first the loss of family or friends, and then again as the government subsequently watched them, and finally their loss of memories of those events.
I am not a literary critic. I found the book interesting and valuable. Through the works she discusses, the author raises valuable questions about how one represents (respectfully) the victims in fiction, the ongoing ethnic tensions, revenge versus redemption and forgiveness.
I also appreciated learning what authors or film directors may have intended versus how critics, including readers or viewers, interpreted the work.
For example, when “A City of Sadness” was released, there was much criticism for what it did or did not “show”. In part, it might have been its timing, right when people could explore the past. The author and others do a very thorough job of countering many of the early criticisms. Ten years later, the same criticism was aimed at the newer film relative to “A City of Sadness.”
Literary Representation
1. Ethnicity and Atrocity. Stories discussed are
a. Intoxication by Ou Tansheng (November 15, 1947)
b. Under the Snow by Lin Wenyi (1987)
c. Angry Tides by Zhong Zhaozheng (a Hakka writer) (1993)
d. Three Sworn Brothers of Xizhuang by Lin Shenjing (March 1986)
e. Notes of Taimu Mountain by Li Qiao (written in 1984)
The specific topics discussed include:
• gender stereotype as ethnicity (e.g., opportunities for a Taiwanese woman, ignorance of a second generation mainlander woman) (a and be above)
• failed marriage as ethnic conflict (c above)
• archaeology of ethnic relations (d above)
• topographic imagination of history and ethnicity (e above)
2. Documenting the past. The stories discussed in this chapter include:
a. Song of the Covered Wagon by Lan Bozhou (1988)
b. Last Winter by Dong Nian (1979)
Topics include authenticity versus artificiality, personal life versus public events, the individual in history (these three in a above); the past and its consequences, domesticity and atrocity, writing trauma, private lives and public events (these in b above). Note, Last Winter ends with events of the Kaohsiung incident, and questions whether one of the characters has lost his zeal for political efforts he had earlier in the 70s.
3. Engendering Victimhood. The stories include:
a. Field of Life and Death by Xiao Hong.
b. The Mountain Road by Chen Yingzhen (1983). Topic: Revictimization
c. A minor Biography of Huang Su by Lin Shuang-bu (1983). Topic: Madness.
d. Yanhua by Yang Zhao (1987). Topic: Questionable Victimhood.
e. The Devil in a Chastity Belt by Li Ang (1995). Topic: who is the victim?
Cinematic Re-creation
4. Past Versus Present. The films include:
a. Good Men, Good Women, directed by Hou Shiao-hsien, based on Lan Bozhou’s “Song of the Covered Wagon.”
b. Heartbreak Island, directed by Hsu Hsiao-ming, based on Dong Nain’s “Last Winter.”
Topics include: What is the Past?, What to do with the Past? (for a above); Past as Causality, Present as Consequence (for b above); for both, Fiction (written) versus Film.
5. Screening Atrocity. The films include:
a. A City of Sadness, directed by Hou Hsiao-hsien (1989), is the first Taiwanese film ever to win Venice’s Golden Lion Award for Best Film. The event is 2/28.
b. March of Happiness, directed by Lin Cheng-sheng (1999), also with a key event being the 2/28 Incident.
Topics include: Re-creating Historical Events, Witnessing and Representing Atrocity, Writing, Reading, and Recounting Atrocity (in a); On the Verge of Melodrama, Violence and Historical Accuracy, Focus on Individuals (in b)
6. Memory as Redemption. The films include:
a. Super Citizen Ko, directed by Wan Ren
The topics include: Memory as Interiorization; Contested Memories; Fabricated Memories; Floating Memories (specific time unspecified), Documentary Memory.
Epilogue: The author also discusses Vine Intertwining Tree by Lan Bozhou, discussing between facts and fiction, victim and victimhood, past/present/ethnicity, representation, women/eyewitness/atrocity.
FB. The author “examines the politics, strategies, and pitfalls of literary and cinematic renditions of Taiwan’s past,” in particular the events around Taiwan’s 2-2-8 Incident and the subsequent white terror, by looking at specific stories (13) and films (5) about these events. It is a thought-provoking book that explores issues of ethnicity, gender, memory, and completeness in the historical representations.
During the years of white terror, the government suppressed mention of the 2-28 Incident, disappearing or locking up for years people challenged the government or spoke of the events.
After nearly forty years of silence, events of the past were often shrouded in lack of information or people's memories. Some victims refuse to speak of those days.
How, then, do authors and film makers present events of these times? In this book, the author “examines the politics, strategies, and pitfalls of literary and cinematic renditions of Taiwan’s past.” (p173).
Her book is partition in two major sections, literary presentation and cinematic re-creation. Below I list of the book’s topics, by chapter. In each chapter, she discusses a few key books or films, giving a (partial) synopsis of each, then discussing the work’s rendition of events, often using criticism by others.
The author also makes clear the limitation of works that were completed before 1987, the end of martial law. Prior to and slightly after 1987, the authors or directors had to be clever in the representations of “taboo” events, such as 2-28 or later, the Kaohsiung Incident of 1979. During that time, artists and citizens self-censored to avoid imprisonment.
Other issues discussed are the “ethnic” tensions between mainlanders (those who came from China with Chiang Kai-shek in his retreat after the defeat by the Communists in 1949) and those who had arrived before, collectively referred to as Taiwanese (but even here, there are different ethnicities and origins).
The author has put a great deal of study into interpreting the works she discusses, exploring how events in the past can be represented and to look at how distance from the end of martial law changes those representations.
A theme that arises in some of the stories is the generational gap between those who lived through the times and fought for freedom and human rights and the younger generation that did not have that experience.
We also see discussion of the roles women play in representing the atrocities. As noted, the vast majority of individuals killed or imprisoned were men. So, women suffered multiple times, first the loss of family or friends, and then again as the government subsequently watched them, and finally their loss of memories of those events.
I am not a literary critic. I found the book interesting and valuable. Through the works she discusses, the author raises valuable questions about how one represents (respectfully) the victims in fiction, the ongoing ethnic tensions, revenge versus redemption and forgiveness.
I also appreciated learning what authors or film directors may have intended versus how critics, including readers or viewers, interpreted the work.
For example, when “A City of Sadness” was released, there was much criticism for what it did or did not “show”. In part, it might have been its timing, right when people could explore the past. The author and others do a very thorough job of countering many of the early criticisms. Ten years later, the same criticism was aimed at the newer film relative to “A City of Sadness.”
Literary Representation
1. Ethnicity and Atrocity. Stories discussed are
a. Intoxication by Ou Tansheng (November 15, 1947)
b. Under the Snow by Lin Wenyi (1987)
c. Angry Tides by Zhong Zhaozheng (a Hakka writer) (1993)
d. Three Sworn Brothers of Xizhuang by Lin Shenjing (March 1986)
e. Notes of Taimu Mountain by Li Qiao (written in 1984)
The specific topics discussed include:
• gender stereotype as ethnicity (e.g., opportunities for a Taiwanese woman, ignorance of a second generation mainlander woman) (a and be above)
• failed marriage as ethnic conflict (c above)
• archaeology of ethnic relations (d above)
• topographic imagination of history and ethnicity (e above)
2. Documenting the past. The stories discussed in this chapter include:
a. Song of the Covered Wagon by Lan Bozhou (1988)
b. Last Winter by Dong Nian (1979)
Topics include authenticity versus artificiality, personal life versus public events, the individual in history (these three in a above); the past and its consequences, domesticity and atrocity, writing trauma, private lives and public events (these in b above). Note, Last Winter ends with events of the Kaohsiung incident, and questions whether one of the characters has lost his zeal for political efforts he had earlier in the 70s.
3. Engendering Victimhood. The stories include:
a. Field of Life and Death by Xiao Hong.
b. The Mountain Road by Chen Yingzhen (1983). Topic: Revictimization
c. A minor Biography of Huang Su by Lin Shuang-bu (1983). Topic: Madness.
d. Yanhua by Yang Zhao (1987). Topic: Questionable Victimhood.
e. The Devil in a Chastity Belt by Li Ang (1995). Topic: who is the victim?
Cinematic Re-creation
4. Past Versus Present. The films include:
a. Good Men, Good Women, directed by Hou Shiao-hsien, based on Lan Bozhou’s “Song of the Covered Wagon.”
b. Heartbreak Island, directed by Hsu Hsiao-ming, based on Dong Nain’s “Last Winter.”
Topics include: What is the Past?, What to do with the Past? (for a above); Past as Causality, Present as Consequence (for b above); for both, Fiction (written) versus Film.
5. Screening Atrocity. The films include:
a. A City of Sadness, directed by Hou Hsiao-hsien (1989), is the first Taiwanese film ever to win Venice’s Golden Lion Award for Best Film. The event is 2/28.
b. March of Happiness, directed by Lin Cheng-sheng (1999), also with a key event being the 2/28 Incident.
Topics include: Re-creating Historical Events, Witnessing and Representing Atrocity, Writing, Reading, and Recounting Atrocity (in a); On the Verge of Melodrama, Violence and Historical Accuracy, Focus on Individuals (in b)
6. Memory as Redemption. The films include:
a. Super Citizen Ko, directed by Wan Ren
The topics include: Memory as Interiorization; Contested Memories; Fabricated Memories; Floating Memories (specific time unspecified), Documentary Memory.
Epilogue: The author also discusses Vine Intertwining Tree by Lan Bozhou, discussing between facts and fiction, victim and victimhood, past/present/ethnicity, representation, women/eyewitness/atrocity.
FB. The author “examines the politics, strategies, and pitfalls of literary and cinematic renditions of Taiwan’s past,” in particular the events around Taiwan’s 2-2-8 Incident and the subsequent white terror, by looking at specific stories (13) and films (5) about these events. It is a thought-provoking book that explores issues of ethnicity, gender, memory, and completeness in the historical representations.
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