Abstract：
　　 Governance policy has been a central focus of historical studies on Taiwan under Qing rule. Our general understanding of Qing Taiwan has largely been shaped by the discourse of Inō Kanori, who argued that the Qing Dynasty showed little interest in developing Taiwan. Despite gaining control of Taiwan after defeating the formidable rival Zheng regime, the Qing Dynasty did not rigorously govern the island and even considered abandoning it. In this political context, the primary objective of Qing policy in Taiwan was merely to prevent rebellions. To support his interpretation, Inō cites Taiwan biancha liuyu li (Regulations on Migrant Registration in Taiwan) in Liubu chufen zeli (Punishment Statutes of Six Ministries), claiming that the said regulations included three prohibitions on traveling to Taiwan. Seemingly coherent and evidence-based, Inō’s argument has been widely accepted and forms the basis for our understanding of Qing Taiwan. Re-examining legal texts and government documents, this article reconstructs the formulation and revision of Taiwan biancha liuyu li, arguing that the regulation was inconsistent with the prohibition on traveling to Taiwan with dependents. Unlike Inō’s interpretation, which treats the two as interrelated laws enacted simultaneously in the early days of Qing rule, this article suggests interpreting them as regulations taking effect one after another in a dialectical relationship. By clarifying the legal framework, the article aims to reassess the changes in Qing policies on the governance of Taiwan and their relationship with society. This historical investigation is expected to lay the foundation for reinterpreting Taiwan’s society, stages of development, and the overarching structure of the island’s history in the long run.

Keywords：History of Qing Taiwan, Policy on the Governance of Taiwan, Social Disturbance, Migrant, Household Registration

Abstract：
　　 Under imperial rule, how colonial intellectuals constructed their own knowledge systems and how they subsequently initiated actions, made choices, and took part indiscourses hinged on their learning experience, the book market, and what they learned as readers. This article focuses on the cross-border and trans-territory education and life experiences of Ye Sheng-ji, as a profile of a colonial intellectual elite at the end of Japanese imperial rule. Drawing insights from his diaries and “Life Notes” written between 1938 and 1945, this article reconstructs Ye Sheng-ji’s colonial secondary school education in Taiwan and subsequent overseas study in Japan during the war. It covers his struggle with the retake exam and his life at Higher School (旧制高等学校, Kyūsei Kōtō Gakkō) and Imperial University (帝国大学, Teikoku Daigaku), shedding light on his cultivation of knowledge and intellectual practices.
　　 In addition, while previous studies on Ye Sheng-ji have often focused on his evolving self-identity resulting from his intriguing cross-border and trans-territorial experiences, this article, building on prior research, centers on Ye Sheng-ji’s reading life and Intellectual pursuits within the social context of the education system and book circulation in the empire. By discussing “How did Ye read?” (book circulation), “What did Ye read?” (reading preferences), and “How did reading affect Ye?” (intellectual development), this article analyzes how Ye Sheng-ji constructed his own knowledge framework, outlook on life, and value beliefs through reading in his daily life, which in turn influenced his worldview, ideological identity, and choice of actions.

Keywords：Ye Sheng-ji, Book Market, Reading Life, Advancement in Life, Cultivationism, Meizen Dormitory, Institute for Research on the Jewish Question

Abstract：
　　 Using understudied archival materials of the Taiwan Film Studio (TFS) held at the Taiwan Historica as well as film journals, translated books, newspapers, and oral histories, this article discusses how, from the mid-1950s to the early 1960s, the TFS embarked on a process of modernization, acquiring knowledge about the production of “modern cinema” and executing related plans in practice. As early as 1956, the TFS bureaucrats had envisioned a version of this “modern cinema.” Central to the studio’s modernization endeavors was the need to integrate advanced film technologies with economically rational management practices. The objective was to produce films that embodied a “national style” suitable for entry into international film festivals and for overseas distribution. The realization of this “modern cinema” vision became tangible in the early 1960s. In response to shifts in the US aid programs, the TFS transformed its operation. Previously, under official directives, the primary focus of the TFS was on producing propaganda films and newsreels. However, they began to view the production of narrative feature films as a primary revenue-generating strategy. No Greater Love / Wu Feng (1962) emerged as the first feature-length film produced under this modernization initiative. Through examining archival materials detailing TFS’s film production and distribution during this period, this research aims to underscore that the TFS was not merely a component of the ideological state apparatus. It was, in fact, an integral part of both Taiwan’s local film culture and the broader global film landscape. This suggests that film bureaucrats within the TFS, as well as those in other film studios, consistently monitored international film trends and sought to incorporate relevant elements. This process was inherently reciprocal, indicating that other actors in the global film culture were also observing the TFS and film studios in Taiwan, seeking opportunities for collaboration or influence. This essay will conclude by examining the categorization of Asian films in the European and the US film exhibition markets, along with the underlying Orientalist ideology, to elucidate why No Greater Love struggled to penetrate the European and the US markets. Narrating the TFS’s transnational journey of film knowledge and its envisioning of global film markets implies that our understanding of Taiwanese, or any film culture for that matter, must transcend national borders and cannot be confined solely within the paradigm of “national cinema.”

Keywords：Taiwan Film Studio, National Cinema, Modern Cinema, Orientalism, Transnationalism

Abstract：
　　 This paper investigated the Dongding Oolong Tea Competition held by the Lugu Farmers’ Association in Nantou County. Specifically, it explored the interplay between competition mechanisms and industrial development by examining how competition mechanisms facilitated brand creation and influenced production and consumption models. Although Dongding oolong tea has been ranked among the most expensive tea products since the 1970s, it faces market confusion due to high product homogeneity and the lack of a credible evaluation mechanism. To open up new prospects, the Lugu Farmers’ Association adopted and transformed the competition mechanisms for traditional agricultural products. From 1976, the Association has organized tea competitions aiming to promote standardization requirements for Dongding oolong tea, improve the quality of tea production and enhance the development of Dongding oolong tea through the establishment of an objective evaluation system. However, contestants focused exclusively on meeting the judging criteria for favorable competition results, thus erasing their own unique flavors; while consumers relied excessively on the brands and grades for their purchases, thus limiting their choices. These highlighted the mutually reinforcing yet restricting relationship between competition mechanisms and industrial development. As the competition became increasingly fierce, the rise in technical and capital thresholds of tea production also led to a change in the contestant demographics. Professional contestants, aiming to increase their chances of winning, leveraged their capital and technology to submit more entries, while ordinary tea farmers withdrew from the competition and switched to other cash crops or careers, causing a decline in tea production in Lugu. As the Dongding oolong tea industry evolves, the feedback from the tea industry has reshaped the tea competition system. Dongding oolong tea, which originally carried the connotation related to the place of origin, now stands for a flavor standard with both fermented and roasted aromas, strict adherence to the traditional production method and prohibition of extruder use for appearance modification. However, the increasing scale and frequency of competitions may also lead to undue reliance on the authoritative guarantee of the evaluation system, which stagnates farmers and consumers’ understanding of tea and may undermine the future development of Taiwan’s tea industry.

Keywords：Brand, Dongding Oolong Tea, Competition Structure, Lugu Farmers’ Association, Consumption Model