THE GAY AND DOUGLAS LANE JOURNAL OF THE LEHIGH UNIVERSITY MARTINDALE CENTER STUDENT ASSOCIATES Volume 43 2025 Perspectives on Business and Economics RESILIENT TAIWAN INTRODUCTION Jon McMillan TAIWANESE HORROR CINEMA Nađa Stojanović THE TAIWAN PRECISION HEALTH INITIATIVE: IMPLICATIONS FOR PUBLIC HEALTH PREPAREDNESS Anoushka Nambiar RETHINKING WATER RATE DESIGN IN TAIWAN Jonathan Osika IMPLICATIONS OF TAIWAN’S DEPENDENCE ON IMPORTED ENERGY Sean M. Davis SUPER-AGED TAIWAN: ADDRESSING CHALLENGES TO HEALTH-CARE SUSTAINABILITY Hannah Falatko IN DEFENSE OF DEMOCRACY: TAIWAN’S INDEPENDENT MEDIA Trinity A. Price TAIWAN’S TRANSITION FROM SILICON TO AI ISLAND Nicole M. Pasterczyk THE ECONOMIC AND SOCIAL IMPLICATIONS OF THE DECLINING BIRTH RATE IN TAIWAN Ella R. Rossetti CYBERSECURITY AS PART OF DEFENSE AND SECURITY POLICY IN TAIWAN Dariia Tyshchenko HOW TAIWAN’S COLLECTIVE IDENTITY AFFECTS HUMAN RIGHTS AND SOCIAL JUSTICE Ying Wu RETHINKING THE START-UP AND VENTURE CAPITAL INDUSTRY OF TAIWAN Mansoor Mughal OPPORTUNITIES AND CHALLENGES FOR TAIWAN’S OFFSHORE WIND ENERGY INFRASTRUCTURE Muzammil Jawed
Volume 43 2025 RESILIENT TAIWAN Perspectives on Business and Economics THE GAY AND DOUGLAS LANE JOURNAL OF THE LEHIGH UNIVERSITY MARTINDALE CENTER STUDENT ASSOCIATES Perspectives on Business and Economics is published by the Martindale Center for the Study of Private Enterprise Rauch Business Center, 621 Taylor St., Lehigh University, Bethlehem, PA 18015 DOI: 10.18275/pbe-v043 Todd A. Watkins, Ph.D. Editor Editorial Board Alberto J. Lamadrid L., Ph.D. Todd A. Watkins, Ph.D. Catherine M. Ridings, Ph.D. Richard N. Weisman, Ph.D. Andrew Ward, Ph.D. George P. White, Ph.D.
MARTINDALE CENTER FOR THE STUDY OF PRIVATE ENTERPRISE Center Staff Todd A. Watkins, Ph.D. Executive Director Andrew Ward, Ph.D. Associate Director Trisha S. Alexy Program Manager Melissa M. Gallagher Administrative Coordinator J. Richard Aronson, Ph.D. (1937–2023) Founding Director Founded in 1980 thanks to a generous endowment from Elizabeth Fairchild Martindale and Harry Turner Martindale '27, the Martindale Center for the Study of Private Enterprise is an interdisciplinary resource in the Lehigh University College of Business. The Center engages students, faculty, and the business and policy communities in active inquiry, tackling questions central to understanding and fostering sustainable private enterprises and inclusive economic systems throughout the world. Martindale Center Publications Periodicals • Perspectives on Business and Economics • Martindale Center Policy Briefs • Martindale Retrospectives • Martindale Discussion Paper Series ii Books • I.W. Lieberman, P. DiLeo, T.A. Watkins, and A. Kanze, eds., The Future of Microfinance (Brookings, 2020) • T.A. Watkins, Introduction to Microfinance (World Scientific, 2018) • J.R. Aronson, H.L. Parmet, and R.J. Thornton, eds., Variations in Economic Analysis (Springer, 2010) • T.A. Watkins and K. Hicks, eds., Moving Beyond Storytelling: Emerging Research in Microfinance (Emerald, 2009) • I.W. Lieberman and D.J. Kopf, eds., Privatization in Transition Economies: The Ongoing Story (Elsevier, 2008) • K. Fabian, ed., Globalization: Perspectives from Central and Eastern Europe (Elsevier, 2007) • J. Laible and H.J. Barkey, eds., European Responses to Globalization: Resistance, Adaptation and Alternatives (Elsevier, 2006) • V. Munley, R. Thornton, and J.R. Aronson, eds., The Irish Economy in Transition (Elsevier, 2002) • F. Gunter and C. Callahan, eds., Colombia: An Opening Economy (JAI, 1999) • D. Greenaway and J. Whalley, eds., “Symposium on Liberalisation and Adjustment in Latin America and Eastern Europe,” in The World Economy (Blackwell Publishers, 1994) • A . King, T. Hyclak, R. Thornton, and S. McMahon, eds., North American Health Policy in the 1990s (John Wiley & Sons, 1993) • A . O’Brien and R. Thornton, eds., The Economic Consequences of American Education (JAI, 1993) • A. Cohen and F. Gunter, eds., The Colombian Economy: Issues of Trade and Development (Westview Press, 1992) • D. Greenaway, R. Hine, A. O’Brien, and R. Thornton, eds., Global Protectionism (Macmillan, 1991) • E. Schwartz and G. Vasconcellos, eds., Restructuring the Thrift Industry: What Can We Learn from the British and Canadian Models? (1989) • D. Greenaway, T. Hyclak, and R. Thornton, eds., Economic Aspects of Regional Trading Arrangements (Wheatsheaf Press, 1989) • R. Thornton, T. Hyclak, and J. Aronson, eds., Canada at the Crossroads: Essays on Canadian Political Economy (JAI, 1988) • R. Thornton and J. Aronson, eds., Forging New Relationships among Business, Labor, and Government (JAI, 1986) • R. Thornton, ed., Schumpeter, Keynes, and Marx: A Centennial Celebration (1984) • R. Thornton, A. Ott, and J.R. Aronson, eds., Reindustrialization: Implications for U.S. Industrial Policy (JAI, 1984) For information on Martindale Center publications and past issues of Perspectives, visit business.lehigh.edu/centers/martindale-center/publications. DOI: 10.18275/pbe
iii Perspectives Perspectives on Business and Economics is the journal of the Martindale Student Associates Honors Program founded and run by the Martindale Center for the Study of Private Enterprise at Lehigh University. Each year, a faculty panel selects 12 of Lehigh’s finest undergraduate students to become Martindale Student Associates. Each student undertakes research focusing on an aspect of the economy and business environment of a foreign nation or state and prepares an article for publication. The region of focus changes each year. Taiwan is a thriving democracy in the shadow of the People’s Republic of China. During the Taiwan trip, May 19–June 1, 2024, the students and faculty of the Student Associates Honors Program explored the complexity of the island’s history, policies, culture, identity, and food. The busy agenda included visits to Taipei, Sun Moon Lake, Hsinchu, Tainan, and Kaohsiung. Taipei, the largest city in Taiwan, includes the gleaming Taipei 101 tower and narrow alleys with hot and steamy night markets. The first day started with visits to the National Palace Museum, Chiang Kai-shek Memorial Hall, and Taipei 101 Observatory and dinner at the famous dumpling restaurant Din Tai Fung. Sessions in Taipei included Emerging Asia Hologic, Inc. (health care), Central Bank of the Republic of China (Taiwan), National Taiwan University (agriculture department and a rice paddy farm), Taiwan Sustainability Hub, National Science and Technology Council, Ministry of Education, i2i Innovation to Industry incubator at the Nankang Software Park, New Bloom independent news, Ghost Island Media, The Lightened coffee shop (owned by entrepreneur and social advocate Annie Huang), Taiwan Institute of Economic Research (energy security), Deloitte (taxes and economy), Chinese Culture University (cross-strait relations and China’s disinformation campaign), and Firelight Akademia. Hsinchu, technology capital of Taiwan, included visits at TSMC museum, Hsinchu Science Park, and RichWave Technology. Then onto Tainan via the high-speed rail. Tainan, the first capital and most historic city of Taiwan, included visits to National Cheng Kung University (housing issues, criminal justice, and IP), Tainan’s Bureau of Economic Development, City of Tainan government office, and a walking tour. On the way to Kaohsiung, the group stopped at the Fo Guang Shan Buddha Museum and the Dragon and Tiger Pagodas. In Kaohsiung, the Martindalers sailed through the Port of Kaohsiung on the port yacht equipped with a boardroom courtesy of Taiwan International Ports Corporation. Taiwan was a fantastic experience. In New York City, October 2024, the cohort visited the Taipei Economic and Cultural Office for discussions on economy, trade relations, and tourism in Taiwan. The next session was at the Council on Foreign Relations, where David Sacks, fellow for Asia Studies, elaborated on cross-strait relations and defense issues in Taiwan. Then, at the Taiwan Central Bank of the Republic of China (Taiwan), the group was briefed on the Taiwan’s macroeconomy. Special thanks The Martindale Center acknowledges the critical role played by alumni, parents, friends, and many experts in the US and in Taiwan who shared their time and expertise as advisors and speakers to help make the 2024–2025 program and volume 43 a success. Thanks to Jon McMillan '98, head of strategic development for Emerging Asia Hologic, Inc., for his commitment to the Martindale students in conducting a session on the health-care system in Taiwan, reviewing student articles for feedback, and writing the journal introduction. Special thanks to the following individuals, who connected the group to contacts for the semester sessions and the NYC and Taiwan trips: Lishan Chang (deputy-director general), ML Yang (director, Education Division), and Shih-Chia (Scott) Yeh (director, Trade and Investment Office), Taipei Economic and Cultural Office in NYC; Chia-Ying Ma '94, professor, Soochow University; Hsin-yi Ouyang, former VP of student affairs, Chinese Culture University; Adrienne Wu, program manager, Global Taiwan Institute; Jon Huang, CEO, Open AI Fab; Wan-Chen (Lila) Chung, CEO, Taiwan Sustainability Hub; Don Merino, founder and partner, Asia Patent Group; and, at Lehigh University: Chad Meyerhoeffer, professor and economics department chair; Daniel Ou-Yang, professor and director, Emulsion Polymers Institute; and Khanjan Mehta, Vice Provost for Creative Inquiry, Lehigh University.
iv The Martindale Student Associates thank Trisha S. Alexy for organizing the curriculum, itinerary, and topic speakers; faculty mentors Professors Lamadrid (for Jawed and Mughal), Ridings (for Falatko and Pasterczyk), Ward (for Davis and Tyshchenko), Watkins (for Stojanović and Wu), Weisman (for Osika and Price), and White (for Nambiar and Rossetti) for guidance on research and writing; and Professor Todd A. Watkins and Nancy Watkins for their editorial rigor and patience. The students also thank the faculty partners for support and friendship throughout. On behalf of the Martindale community of students, alumni, faculty, staff, and friends, we express immense appreciation to Douglas Lane '67 and Gay Lane for their support of this journal. Todd A. Watkins, Ph.D., Editor Executive Director, Martindale Center The Martindale Center thanks these individuals: Paul Barclay Chin-Fei Chang Gloria Chang Hsin-shun Chang Hung Hao Chang Ivy Chang Nicole Chang Wendy Chang Chien-Min Chao Chun-Jen Chen Justine Chen Savita Chen Sharron Chen Ya-Chi Chen Yen-Jong Chen Ying-Jung (Amy) Chen Yu-Lin Chen Han-Liang Cheng Richard Cheng Shirley Chiang Chih-Ping Chiu Hsaio-Hsuan (Shirley) Chiu Hsin-Yi Chiu Wei-Sheng Chiu I-ju Chou Martin Chuang Karen Chu Mei-Lie Chu Evan Dawley Brian Hioe Katherine Ho Fu-Jen Hsiao Joy Hsiao Rico Hsieh Ava Hsu Shu-Jung (Sherry) Hu Ada Huang Esther Huang Yu-Sing (Scott) Huang Nick Hung Wendy Juan Jin Juang Tina Kao Niwa Kane Kenta Win-Ping Kuo Yen-Chun (Sebastian) Lai Kaden Lee Yih-Jiun (Sharon) Lee Yun Lee Amber Li Ming-Hsu Li Chun-Nan Liao Jasmine Liao Kao-Hsien Liao Evelyn Lin Henry Lin Hui-Chen Lin Jo-Chen (Meg) Lin Minn-Tsong Lin Shyh-Rong Lin Spencer Lin Teng-Chiu Lin Jer-Yuh (Rhea) Liu Yu-Shen Liu Angel L. Lou Tsai Ching Lun Tina Ou Warren Pai Shelley Rigger Ginn Shao Thomas J. Shattuck Yau-Huo (Jimmy) Shr Yu-Ling Song Selena Su Pearl Sun Wei-Xuan Sun Hsing-Sheng Tai Hsiao-Chun Tseng Claire Tseng Hsiao-Wen Wang Tzu-Chi Wang Linda Wen Amanda Wu Carol Wu Chia-Yuan Wu Emily Wu Mei-Ying Wu Michael Yang Sheng Yeh Ian Yen Hsin-Jung Yu Sue-yar Yue The Martindale Center thanks alumni mentors who provided feedback on article drafts: Asgar Bin Ali '23 Elizabeth Beatty '84 Megan Colville '12 Cameron Copeland '08 '09 Brian Cunningham '10 Ian Davis '18 Michelle Davis '86 Alicia Drummey '85 Griffin Fox '22 Patty Haley-Hargreaves '83 Peter F. Harter '90 Logan Hodges '16 Zakaria Hsain '17 Bridget Joyce '14 Carolyn Shemwell Kaplan '02 '03G David Dashifen Kees '02 '04G Nick Lynch '05 '07G Gunnar Miller '87 David Morency '18 Tina Peloquin '95 Viraj Sethi '23 Danielle Spar '10 Helen Tynes '22 '23 M. Jeremy Walsh '08 '09G The Martindale Center thanks these organizations: AccessAdvance LLC Davidson College DeepRad.AI, Inc. Goucher College Lafayette College Perry World House Sea Sonic Energy Co., Ltd.
v THE MARTINDALE CENTER FOR THE STUDY OF PRIVATE ENTERPRISE RECOGNIZES AND THANKS THESE MAJOR CONTRIBUTORS FOR THEIR GENEROUS SUPPORT J. Richard Aronson '87PG '15GP (deceased) and Judith L. Aronson '80G '87PG '15GP Thomas A. Berglund '82 and Rosemarie Fiorilli '83 Alan S. Brodherson '86 Robert M. Cahill '84 '23P '23P and Mary Beth Cahill '23P '23P Brian P. Cunningham '09 '10 and Danielle M. Spar '10 Fairchild-Martindale Foundation Faith R. Glazier '87 '19P and Robert A. Weisstuch '85 '19P Jay H. Golding '67 and Susan Golding Stephen F. Goldmann '66 and Bette G. Goldmann Donald M. Gruhn '49 (deceased) and Judy Gruhn Leo Guthart Barry C. Harris '70 and Sandra Harris Peter F. Harter '90 David Heidecorn '78 '11P and Deborah S. Heidecorn '78 '11P Frederick H. Jamieson '74 and Jane P. Jamieson '75 Mark S. Kaufmann '53 (deceased) and Carole Kaufmann Edward R. Klein '67 '68G '01P and Rosalyn F. Klein '01P Michael D. Krauss '83 and Dara L. Krauss Jeffrey A. Laborsky '98 Melissa A. Rutigliano Laborsky '99 Douglas Lane '67 '90P and Gay Lane '90P Ira W. Lieberman '64 '94P and Phyllis Lieberman '94P (deceased) Roger S. Penske '59 '82P and Kathryn Penske William G. Pertusi '83 '14P and Rina S. Pertusi '85 '14P Rodolfo Segovia '89P '91P and Silvia Segovia '89P '91P Bruce M. Serchuk '89 and Anita Soucy Kanika P. Sethi Sarat Sethi '92 Steven R. Shoemate '85 Sidney J. Silver '57 '59G '81P '93P '17GP '18GP and Margaret Silver '81P '93P '17GP '18GP James B. Swenson '59 '15GP '17GP and Roberta H. Swenson '15GP '17GP Maria E. Taber '93 and Mark D. Taber Jeffrey Tarnoff '69 '00P (deceased) and Diane W. Tarnoff '00P Ferdinand Thun '56 (deceased) and Elizabeth M. Thun Jeffrey S. Wantman '00 and Sara Wantman Todd A. Watkins '15P '18P and Nancy B. Watkins '15P '18P Kenneth R. Woodcock '65 and Dorothy Woodcock Allen M. Yurko '73 and Gayle Yurko
vi THE MARTINDALE CENTER FOR THE STUDY OF PRIVATE ENTERPRISE THANKS THE FOLLOWING DONORS FOR THEIR VALUED SUPPORT (FY2021–FY2025) Richard W. Barsness and Dorothea L. Barsness Devon J. Battaglia '01 '03 and Irene K. LaBarca Battaglia '04 Elizabeth H. Beatty '84 '16P Elizabeth R. Bell '74G and Raymond Bell '71G Hrvoje Benko '01 and Elizabeth L. Benko '01 James R. Berger '76 '07P Sharon P. Bernstein '77 and Joseph C. Bernstein Whitney L. Bernstein '15 '16G Christopher J. Berzin '10 Kenneth D. Blanchette '10 Patrick W. Brophy '87 and Leslie Brophy Michael Brown and Patricia Brown Margaret C. Buell '88 '93G '17P '19P and Stephen G. Buell '70 '71G '77G '17P '19P Thomas F. Burke, Jr. '93 and Sharon Burke John M. Burton '15P and Karen M. Burton '15P Gordon Campbell and Janet Gordon John A. Carr '22 Taylor C. Carroll '17 Laura G. Chan '17 Helen M. Colosimo '03 Megan E. Colville '12 Christine M. Croft '95 and William K. Croft '95 Christopher L. Croteau '92 and Lena Croteau Billie M. Davis '02 '03G Ian M. Davis '18 Michelle M. Davis '86 and Scott Davis George S. Diamond '72G '77G and Roberta Diamond Joleen R. Doverspike '99 '01G (deceased) and Joshua C. Doverspike '99 Alix E. Eggerding '04 and Matthew Eggerding Mohamed S. El-Aasser and Nora A. El-Aasser Bryce D. Erdman '23 Joshua J. Feldman '93 and Wendy C. Goldstein-Feldman Andrew C. Fiala '92 and Ehren Weidenkeller Kenneth P. Fischl '71 '01P and Marsha Fischl '01P Eric S. Fishbein '01 '02G Diane Glass '11P '17P and John H. Hardenbergh '11P '17P Katherine Glass-Hardenbergh '11 Steven M. Glassman '04 '05G Ann Goldberg Benjamin O. Golden '94 Allan B. Goodman '60 and Mary Rita Goodman '90G Milton H. Grannatt III '68 '69G '72G '75G and Patricia S. Grannatt '72G Nicholas J. Greybush '11 Shaan Gurnani '16 Brooke I. Heidecorn Keith Heidecorn '11 and Stephanie Braunthal Lisa E. Heintzelman '15 Marie E. Helmold '81 Mary J. Hill (deceased) John L. Hilley '03P and Rosemary M. Hilley '78G '03P Logan A. Hodges '16 Robert M. Holcombe '58 '69G '95P and Elizabeth K. Holcombe '67G '95P Thomas J. Hyclak and Jean M. Hyclak '98G Christine M. Joachim '96 Andrew J. John '06 '07G and Soo Hooi Oh '06 '07 Larry M. Kantor Carolyn Kaplan '02 '03G and Rudyard D. Kaplan '02 Irving Kaplan Jonathan Klein and Ann Klein Ira W. Krauss '67 and Mary R. Krauss Margaret M. Krawiec and Steven Krawiec Judith F. Lappen '81G Andrew R. Lauden '93 and Trisha W. Lauden '93 Kelly K. Lear Nordby '90 Cynthia J. Learn '87 Jade B. Lentz '15 Caroline Kane Levy '19P and Stephen J. Levy '19P Grace H. Lin '19 Pam Lott '89 and Ron D. Ticho '85 '89G Nicholas A. Lynch '05 '07G Toni A. Marraccini '09 Beverly and Gayne Marriner Veronica D. McKinny '18 Deborah Miller and Gary A. Miller Linda Miller and Michael R. Miller Vincent G. Munley '74 '02P '04P '05P and Ann C. Munley '91G '02P '04P '05P
vii LEHIGH UNIVERSITY AFFILIATIONS KEY: 'Yr: Undergraduate degree year 'G: Graduate degree year 'P: Child’s undergraduate degree year 'PG: Child’s graduate degree year 'GP: Grandchild’s degree year Sarah W. Nelson '00 and Todd Nelson Alexander A. Niewiarowski '14 Nicholas Noel III '74 and Karen S. Noel Marie T. O'Connor '91 Karen A. O'Donnell-VanderGoot '99 and Matt R. VanderGoot Raymond Ojserkis '91 Christina Pak '16 Marc C. Palmer '10 Erika R. Papaccioli '03 Marci S. Paraboschi and Steven Paraboschi Elaine J. Phillips Catherine Y. Preysner '16 Stacey L. Rantala '93 and Brian S. Birtell '93 Karen J. Richard '93 and Andrew D. Richard Shauna G. Richman '83 Carol J. Richter and Martin L. Richter Catherine M. Ridings '18P '21P Dolores Rockman and Harold Rockman Donald O. Rockwell, Jr. '65G '68G and Elke H. Rockwell Daniel E. Rosenthal '92 '21P and Michelle H. Rosenthal '92 '21P Lissa Rotundo James C. Rule, Jr. '11 and Michelle Spicer '12 '14G Kristin E. Sargent '02 Kristel Schimmoller Stuart D. Schnabolk '09 and Elizabeth L. Schnabolk '08 Sandra J. Schonberger and Jack Schonberger Judy Schooling Sheila C. Schottland '05 and David Schottland Curtis S. Schuelein '81 Akhil Sethi '87 '23P and Sunanda Sharma David Shaffer and Susan Shaffer Tyler A. Sloan '15 Paul E. Smith '61 '62 '93P and Carol A. Smith '93P J. James Spinner '73 and Karen Spinner Cara E. Stawicki '05 '06G and Kyle R. Stawicki '05 Olga M. Stewart '05 '06 J. Nicholas Strasser '01 and Rosanne Facchini Karen L. Stuckey '75 '10P and Henry W. Seduski, Jr. '10P Robin Superick Connie D. Svoboda '99 Elly Swartz SueNee Tan '09 Tyler A. Tate '04 '05G Andrew M. Tye '13 Beth E. Vallen '00 and Kenneth J. Vallen Jon P. Van Order '94 Susan G. Vengrove and Marc A. Vengrove Katherine L. Warren '02 and Michael S. Warren '02 Edmond A. Watters III '61 '66G '74G Ashley E. Weber-Pickard '00 Richard N. Weisman '00P and Melody K. Weisman '81G '00P Caroline F. Weisstuch '19 Cynthia E. Welton '94 and Griffith J. Welton '88 Nancy J. Werlin George P. White '06P and Karen White '06P Lorraine S. Wiedorn '84G '13P '17P and Paul G. Wiedorn '83 '85G '13P '17P Glenn C. Wightman '91G and Lauren Wightman Beth M. Wilson '18P Jamie L. Wine '92 and David M. Simonds Catherine E. Withers '14 '15G Eric C. Wolfe '92 and Jessica Wolfe Norman J. Wruble and Sandra Wruble
RESILIENT TAIWAN Volume 43 2025 x INTRODUCTION JON MCMILLAN 1 TAIWANESE HORROR CINEMA Taiwanese horror films enjoy significant popularity despite comprising a small portion of domestic production. These films often draw on local folklore and address contemporary societal issues, with recurring themes of Taiwanese identity and historical trauma. This article explores why these films resonate so strongly with domestic audiences, arguing that their distinct appeal stems from folkloric elements and sociopolitical themes. A comparative analysis with Japanese and South Korean horror further highlights these unique characteristics. NAĐA STOJANOVIĆ 10 THE TAIWAN PRECISION HEALTH INITIATIVE: IMPLICATIONS FOR PUBLIC HEALTH PREPAREDNESS Taiwan’s impressive pandemic response can be attributed to early intervention strategies that led to an emphasis on individualized health care. The Taiwan Precision Health Initiative launched new tactics to improve public health by targeting precision medicine, regenerative medicine, and digital health innovation. By prioritizing data privacy and fiscal transparency, Taiwan can reduce health-care costs, improve the overall quality of health, and enhance disease control and prevention. ANOUSHKA NAMBIAR 19 RETHINKING WATER RATE DESIGN IN TAIWAN Despite abundant annual rain, Taiwan faces persistent water shortages driven by temporal and spatial imbalances, infrastructural inefficiencies, and misaligned pricing. This article examines Taiwan’s water pricing, failure to incentivize conservation, and political and economic barriers to reform. Recommendations include customer classifications and raising pricing tiers for large users. Proposed reforms aim to align pricing with environmental and economic goals while maintaining equity across users. JONATHAN OSIKA 28 IMPLICATIONS OF TAIWAN’S DEPENDENCE ON IMPORTED ENERGY Taiwan occupies a unique geopolitical position, often in conflict with China. Its energy sector represents a key vulnerability as it attempts to mitigate Chinese aggressions and influences. This article examines how Taiwan’s dependence affects its geopolitical position and economy, exploring strategies for strengthening its position through a transition to renewable and clean energies and through strategic supply chain management to counter Chinese pressure. SEAN M. DAVIS 37 SUPER-AGED TAIWAN: ADDRESSING CHALLENGES TO HEALTH-CARE SUSTAINABILITY T aiwan’s aging population threatens the sustainability of its universal health-care system. With a growing elderly population, chronic disease rates rise; at the same time, the number of health-care professionals has been declining. This imbalance strains the National Health Insurance, with fewer working-age people contributing to its funding. This article examines the sustainability of the health-care system, analyzing the funding structure, long-term care policies, and government initiatives that address the challenges. HANNAH FALATKO 45 IN DEFENSE OF DEMOCRACY: TAIWAN’S INDEPENDENT MEDIA Independent media in the Republic of China (Taiwan) is targeted by the unification efforts of the People’s Republic of China (China). Taiwan’s independent media is faced with propaganda, censorship, and disinformation attacks by China that aim to endanger its autonomy as a democracy. This article discusses relevant laws that protect speech and press freedoms as well as Taiwan’s current defenses against disinformation that provide a framework for future resistance to unification. TRINITY A. PRICE viii
52 TAIWAN’S TRANSITION FROM SILICON TO AI ISLAND Taiwan is renowned for semiconductor innovation. With semiconductors pivotal to digital advancement, the island is essential in geopolitical trade. However, overreliance on semiconductors puts its economy and sovereignty-preserving silicon shield at high risk, given geopolitical tensions with China. Diversification is critical to securing a strong economic future. Investing in digital technology would utilize strengths while avoiding threats. This article analyzes Taiwan’s current situation and proposes discovery- based AI as a serious contender for alternative investment. NICOLE M. PASTERCZYK 60 THE ECONOMIC AND SOCIAL IMPLICATIONS OF THE DECLINING BIRTH RATE IN TAIWAN Taiwan suffers from an ultralow birth rate and a soon-to-be superaged population, consequences of societal norms and limited access to fertility support. Without action, this combination has the potential to facilitate economic decline. To mitigate the population crisis, Taiwan must modernize its societal norms surrounding working women and motherhood, increase availability of fertility options, and liberalize immigration policies. ELLA R. ROSSETTI 68 CYBERSECURITY AS PART OF DEFENSE AND SECURITY POLICY IN TAIWAN Taiwan faces growing cybersecurity threats, particularly from China, that challenge its security and democratic institutions. Taiwan has responded by investing in cyber infrastructure, expanding legal protections, and fostering public–private collaboration. It also has positioned itself as a regional leader in digital governance. However, vulnerabilities remain, including disinformation campaigns and undersea cable risks. This article examines Taiwan’s current cybersecurity framework and proposes policy recommendations to strengthen coordination, protect critical infrastructure, and promote long-term resilience. DARIIA TYSHCHENKO 76 HOW TAIWAN’S COLLECTIVE IDENTITY AFFECTS HUMAN RIGHTS AND SOCIAL JUSTICE Taiwan’s ever-evolving identity, shaped by colonialism, democratization, and resistance to authoritarianism, directly reinforces its human rights advancements. As citizens increasingly identify as Taiwanese alone, a feedback loop emerges, fueling democratic participation and rights protections, which in turn strengthen collective identity. Indigenous recognition, LGBTQIA+ policies, and civic actions like the Sunflower Movement exemplify how cultural self-definition drives democracy. Steadfast amid rising Chinese pressure, identity remains central to preserving Taiwan’s autonomy and liberal values. YING WU 85 RETHINKING THE START-UP AND VENTURE CAPITAL INDUSTRY OF TAIWAN Taiwan’s dependence on semiconductors to power its economy and its intensifying geopolitical tensions have mounted pressure on its start-up and venture capital ecosystem. Although government programs have aimed at supporting in-house innovation, fragmented bureaucracy, a conservative investor culture, and limited global integration have stifled Taiwan’s true start-up potential. This article analyzes the historical roots of venture capital development in the small island, its current structural weak points, and proposals for reform. MANSOOR MUGHAL 94 OPPORTUNITIES AND CHALLENGES FOR TAIWAN’S OFFSHORE WIND ENERGY INFRASTRUCTURE Taiwan’s ambitious energy transition relies heavily on a build-out of offshore wind to reduce dependencies on imported fuels and mitigate geopolitical risks. This article examines development and financing aspects of the offshore wind sector, analyzing opportunities, challenges, and international benchmarks. It argues that regulatory initiatives, investing in transmission and storage, and building international partnerships are instrumental in achieving the ambitious targets. Offshore wind represents a critical opportunity for achieving long-term sustainability and energy security. MUZAMMIL JAWED ix
Introduction I was honored to engage with Lehigh University’s Martindale Student Associates as they embarked on their research journey focused on Taiwan, a place that has been my home and center of my professional life for over 25 years. Graduating in 1998, my Lehigh experience was incredibly important and remains highly vivid—the relationships established, education, and college experiences all played pivotal roles in my personal and professional growth. My curiosity in Asian studies and Chinese language led me to enter the first Lehigh in China program during summer 1996, where I spent time in Beijing, Shanghai, and Hong Kong, learning about multinational and Asian businesses, experiencing the history and culture, and understanding the importance of relationships in Asia. After graduating with a bachelor’s degree in international relations, I began my career in Taipei in financial services before transitioning to health care, building a career in Asia that has stretched over two and a half decades. Today, with the macroeconomic situation globally, Taiwan stands at a critical point in its growth and global position in trade, investments, and technology. This reality made supporting the 2024 Martindale program in Taiwan even more significant, given the opportunity to share with the scholars my Taiwan experiences and perspectives. The conversations during their visit were engaging and profound, covering Taiwan’s aging society, its health-care system, economic growth and foreign investment climate, alternative energy and innovative technologies such as AI and semiconductors, and women’s programs and rights. These discussions were furthered as students met with various stakeholders across the island. The breadth of topics explored in this volume is remarkable, reflecting Taiwan’s multifaceted challenges and opportunities. From the cultural significance of Taiwanese horror cinema as a lens for understanding cultural identity to water resource management reform, vulnerabilities in energy dependence, the promise of precision health, defending democratic media against disinformation, and navigating the transition from “silicon island” to “AI island,” these young scholars have tackled pressing issues with remarkable depth and insight. What particularly impressed me was not only how the authors sought to understand complexities but also their commitment to engaging with real challenges. Whether examining the sustainability of Taiwan’s superaged health-care system, cybersecurity as a cornerstone of defense and security policy, the startup ecosystem, renewable energy opportunities, the declining birth rate crisis, or how national identity shapes human rights, each article demonstrates a sophisticated understanding of Taiwan’s uniqueness. When I reflect, I am highly thankful for my time at Lehigh and its programs, which allow students to gain experience, seek advice, learn from experts, and further their goals. This is precisely why the Martindale program is so important to the university and each student’s development. As you read these articles, you will appreciate not only the research depth but also how these emerging leaders provide recommendations valuable for policymakers, executives, and stakeholders to consider as Taiwan continues to evolve and strengthen its global presence. I sincerely hope these scholars will maintain their connection to Taiwan and return to contribute to its resilient future. Jon McMillan '98 Head of Strategic Development Emerging Asia Hologic, Inc. Taipei, Taiwan x doi:10.18275/pbe-v043-001
1 MARTINDALE CENTER FOR THE STUDY OF PRIVATE ENTERPRISE Taiwanese horror cinema Nađa Stojanović Taiwanese horror films enjoy significant popularity despite comprising a small portion of domestic production. These films often draw on local folklore and address contemporary societal issues, with recurring themes of Taiwanese identity and historical trauma. This article explores why these films resonate so strongly with domestic audiences, arguing that their distinct appeal stems from folkloric elements and sociopolitical themes. A comparative analysis with Japanese and South Korean horror further highlights these unique characteristics. Introduction Among popular film genres in Taiwan, horror stands out. Horror films constitute less than 5% of annual domestic film production yet consistently achieve disproportionate commercial success. Horror films in neighboring East Asian markets of Japan and South Korea do not exhibit the same trends. This distinct genre preference, despite limited production volume, warrants closer examination of the themes and narratives within Taiwanese horror that resonate strongly with the local audience. Formally defined in the context of popular literature as “a genre focused on evoking emotions of dread, fear, and tension,” horror encompasses films that elicit similar emotional responses through visual, auditory, and narrative elements (Prohászková, 2012). In light of horror’s distinct success in Taiwan, this article examines the specific thematic and narrative choices that drive its popularity. Namely, the notable appeal of Taiwanese horror stems from its engagement with three key themes: local folklore, the conflict between modern and traditional values, and the fragmented Taiwanese identity. By analyzing how Taiwanese horror engages with these themes, this study situates the genre within the broader landscape of Taiwanese cinema and its cultural significance. Background Film plays a critical role in shaping cultural identity and articulating social consciousness. According to the Taiwan Government Information Office (2006, as cited in Gao, 2007), “Film is the most important medium of modern culture. We watch the same movie so that we have the same dream, the same consciousness, and even the same culture.” Beyond fostering collective cultural consciousness, cinema in Taiwan is also a site of competing narratives of identity and history. Any attempt to define a Taiwanese cinema must therefore consider the multiple oppressive regimes the island has been subjected to throughout its history and how such periods have shaped and continue to shape the Taiwanese identity. Early cinema, 1897–1945 The history of cinema in Taiwan dates to 1897, when a motion picture device was first used for makeshift screenings in Taipei (Lee, 2012). Early film screenings catered to predominantly Japanese audiences living in Taipei, as Taiwan had come under Japanese colonial rule in 1895. In Japan, a labor movement activist, Takamatsu Toyojiro, used motion pictures to enhance the agitation aroused by the socialist speeches he gave while traveling with fellow union organizers (Lee, 2017). This innovative use of motion pictures caught the attention of the Japanese Prime Minister Itō Hirobumi, who persuaded Takamatsu to travel to Taiwan and hold film exhibitions that would educate the “ignorant” Taiwanese as to how colonial rule benefits them and encourage the Japanese to visit the newly acquired colony despite their prejudice against the locals (Lee, 2017; Wen, 2018). Takamatsu’s first film, An Introduction to Actual Conditions in Taiwan (1907), portrayed the assimilation of the Taiwanese population into the Japanese Empire, exaggerating the benefits of Japanese rule and the supposed harmony between the locals and their colonizers. Thus began the use of film for propaganda purposes by the colonial government—an early example of how cinema was leveraged to shape perceptions of identity and belonging in Taiwan. The imperialization program aimed at assimilating the Taiwanese population by promoting Japanese language, culture, and values and encouraging allegiance to Japan. An important genre emerged: doi:10.18275/pbe-v043-002
2 PERSPECTIVES ON BUSINESS AND ECONOMICS | VOL 43 | 2025 Kōminka films encouraged Taiwanese people to identify as Japanese and show loyalty to the emperor and the imperial state (Wen, 2018). Despite the strong assimilation efforts, the colonial government tolerated the importation of Chinese films into the 1930s but heavily censored films with Taiwanese participation in their production (Kellner, 1998; Neri, 2015). When the Second Sino-Japanese War began in 1937, importing foreign films into Taiwan was prohibited (Neri, 2015). Two years later, in 1939, the Regulations of the Handling Motion Pictures Film Inspection Rule was implemented in Taiwan, modeled on the Film Law passed in Japan the same year, mandating that all scripts be inspected before film production and distribution. The law also required theaters to show Japanese-produced newsreels and culture films (bunka eiga) as part of each feature film program (High, 1986). As a result, until the end of the World War II, Taiwan cinema was almost entirely in the service of Imperial Japan, reinforcing a narrative of assimilation that would later contribute to Taiwan’s ongoing struggles with collective identity (Lee, 2012). The Sinicization of Taiwanese cinema, 1949–1987 After Japan’s defeat in World War II, Taiwan was handed over to the Republic of China. Kuomintang (KMT), the ruling party on the mainland, took control of the island with a repressive regime. The local Taiwanese population soon became resentful of the corrupt conduct of the authorities. Tensions culminated on February 28, 1947, when an uprising against KMT was violently suppressed, resulting in mass casualties. This event, which later became known as the 228 Incident, had a profound effect on Taiwanese cinema, especially during the New Wave era. After its defeat by the Chinese Communist Party on the mainland in 1949, KMT retreated to Taiwan and declared martial law, ushering in a period of authoritarian rule known as the White Terror. KMT sought to consolidate power, suppress dissent, and Sinicize Taiwan following 50 years of Japanese rule. A major shift occurred in the linguistic and cultural landscape of Taiwanese cinema during this period. The government heavily promoted Mandarin-language films, even though few people on the island spoke Mandarin at the time, reinforcing the state’s vision of a singular Chinese identity. Local audiences and filmmakers rejected the push for dominance of Mandarin-language cinema, resulting in the emergence of Taiwanese-language cinema (taiyupian) in the late 1950s (Berry, 2022). By 1969, there were 1052 taiyupian productions made in Taiwan versus only 373 Mandarin-language films, pointing to a continued resilience of linguistic and cultural identity despite government efforts to impose a certain national narrative (Zhang, 2013). The popular genre in the 1960s comprised “social news” films, which were based on real-life events and in the interest of sensationalism featured graphic images of homicides and violence. The social news genre is distinct from thrillers and horror but incorporates elements of both. As such, it served as a stepping stone for Taiwanese director Hsin Chi to pioneer the genre of gothic romance with a taiyu film, The Bride Who Has Returned from Hell (1965). Among known taiyupian directors, Hsin is the most often discussed by scholars (Berry et al., 2024). His feature film, Alias Lover (1965), was the first science fiction horror taiyu film (Rawnsley, 2013). Hsin was also innovative in his use of spatiality to illustrate conflicting values. This was already a common technique in taiyupian, used to reflect underlying tensions such as the dichotomy between Taiwan’s agrarian past and rapid urbanization. Hsin’s work, however, engaged more directly with anxieties surrounding cultural transformation (Lin, 2024). Instead of the traditional urban-rural contrast, Hsin juxtaposed a decayed, haunted Buddhist shrine with an opulent, Western-style mansion to emphasize the growing tensions between tradition and modernity and between local heritage and globalization. By then, horror had gained footing in taiyupian but mostly in the form of opera (Liu, 2021), consistent with early horror in mainland China, where theatrical performances often served as a medium for supernatural storytelling. Taiwanese-language operas, however, distinguished themselves by drawing heavily from local Taiwanese folklore in contrast to studios from Hong Kong and the mainland, which idealized imperial China and leveraged a familiar aesthetic and Chinese music to relieve cultural anxieties and evoke nostalgia (Chen, 2016). As the 1960s progressed, filmmakers like Yao Feng-Pan emerged as pivotal figures in the horror genre in Taiwan (Liu, 2021). Yao produced a series of Mandarin horror films, which drew on traditional Chinese ghost stories. Facing a drop in revenue, Yao realized that audiences grew tired of elements of Chinese culture (Liu, 2021). He turned instead to Taiwan’s customs, religious beliefs, and local criminal cases. He produced The Ghost Lover (1976), based on a Taiwanese marriage ritual; The Old Lock (1977), based on a crime that occurred in Keelung in 1934; and The Tale of Old House (1979), based on traditional Taiwanese burial customs.
3 MARTINDALE CENTER FOR THE STUDY OF PRIVATE ENTERPRISE However, the rise of television and increased censorship affected the demand and supply for Taiwanese-language films, which ultimately contributed to the decline of taiyupian in the 1970s. Taiwan’s cinematic landscape subsequently became dominated by the Central Motion Picture Corporation (CMPC), a state-sponsored studio. CMPC’s new president, Kung Hong, proposed a production style called healthy realism that, while adopting the filmmaking style of Western realistic films, projected an idealized vision of Taiwanese society that aligned with KMT’s national identity narrative and avoided exposing its underlying fractures (Hong, 2011). These films were initially well received but eventually faced rejection from audiences due to their repetitive thematic nature and adherence to conventions (Chiang, 2014). New Wave cinema, 1982–2000 The Taiwanese New Wave marks a departure from healthy realism’s conventional narratives and aesthetics. This shift also reflects a broader cultural transformation; traditional values and folklore-based storytelling receded in favor of contemporary social critique. The movement began with a four-part anthology, In Our Time (directed by Te-chen Tao et al., 1982), marking the beginning of analyzing real social phenomena in film and caring about realities of everyday life as well as restoration of a common Taiwanese identity. The best example of the conflict between Old Cinema and New Cinema was the three-segment anthology The Sandwich Man (1983), directed by Hou Hsiao-hsien, Tsang Jong-cheung, and Wan Jen. The film was initially condemned by conservative critics for its negative depiction of Taiwan and satirical critique of its obsession with the US. Namely, in the third vignette, The Taste of Apples, a poor laborer’s life briefly changes when he is hit by an American colonel’s car and taken to the affluent US Naval Hospital in Taipei City. Eager to preserve diplomatic relations amid the Cold War, the US embassy provides for the man’s medical treatment and showers his family with gifts, including apples—a rare, imported delicacy. After an initial screening to the press, an anonymous complaint was filed with the CMPC. As a result, the studio ordered changes to “dialogue, tone, behaviour, and the outdoor location shots in relation to images of poverty in the capital city” (Wang, 2013). Even the final scene, where the family eats apples for the first time, was removed, leading to the event being referred to as “the apple peeling incident.” The attempt at censorship inspired significant public outcry after a journalist exposed the affair. The film was eventually fully restored. According to I-Fen Wu (2006), “the success that Sandwich Man achieved at the box office loosened the strict censorship policies, gradually allowing the CMPC to be more flexible, more supportive of new directors and their individual styles.” The phenomenon also emboldened filmmakers and cultural workers who came together in 1986 and drafted the “Taiwan Film Manifesto of the 76th Year of the Republic of China” (Emerson, 2019). The manifesto mainly scrutinized the government’s encouragement of political propaganda in filmmaking and condemned Taiwanese critics for promoting the idea that Taiwanese films should be similar to those from Hong Kong and Hollywood, both foreign markets that saw great box office success in Taiwan. With the lifting of martial law in 1987, New Cinema directors and screenwriters were further spurred to explore taboo subjects and revisit Taiwan’s painful past (Ren, 2024). In 1989, Hou Hsiao-Hsien won the Golden Lion at the Venice Film Festival with A City of Sadness (1989), a film about the 228 Incident and the surrounding civil unrest. Similarly, Edward Yang’s A Brighter Summer Day (1991) received international acclaim with its depiction of the White Terror and a real homicide case. Both films, and many others from this period, exemplify a narrative style that forgoes melodrama and sensationalism in favor of a more subdued exploration of characters and overarching themes. The directors utilized long takes and minimal editing to reconstruct a particular historical atmosphere and allow audiences to be fully immersed in the film’s setting. Both in intention and execution, New Cinema films diverge from the conventions established by Hong Kong and Hollywood at the time, an indication of the deliberate effort by filmmakers to differentiate their work from foreign influences (Emerson, 2019). From this point on, Taiwanese cinema achieved full artistic freedom in its choice of subjects and both thematically and officially broke free from ideological constraints. Modern Taiwanese cinema, 2000–present In recent years, Taiwanese producers and directors have been working to diversify the film industry by adhering to genre conventions (Pan, 2023). Between 2017 and 2021, comedy, mystery/thriller, family, and romance genres dominated domestic film production in Taiwan, collectively accounting for 70% of all films produced during that period, according to the Taiwan Creative Content Agency (2023). Though horror films comprised, on average, less than 5% of annual domestic film production during the same pe-
4 PERSPECTIVES ON BUSINESS AND ECONOMICS | VOL 43 | 2025 riod, they consistently brought strong box office performances. In 2022, three horror films were among the top 10 highest-grossing domestic productions (Taiwan Creative Content Agency, 2023). In fact, from 2020 to 2024, horror films have consistently ranked among the top 10 highest-grossing domestic productions. As shown in Figure 1, horror films have achieved a box office share more than six times their share of domestic production. The figure compares each genre’s representation in domestic film production with its presence among the top-grossing films over the same period. Whereas most genres exhibit ratios near 1, indicating a proportional relationship between commercial success and production share, horror demonstrates a significantly higher effect size, indicating that despite a limited share in overall production, Taiwanese horror films are received disproportionately well by domestic audiences. As explored later, a similar trend in horror consumption does not extend to other markets in East Asia. Moreover, according to the Bureau of Audiovisual and Music Industry Development (2024), from 2019 to 2024, none of the top 10 highest-grossing foreign films screened in Taiwan belonged to the horror genre. Taiwanese filmmakers recognize this potential. Even though Hollywood blockbusters continue to dominate the local market, producers Aileen Li YiuWah and Michelle Yeh have identified horror as a strategic opportunity for Taiwan’s “toddling” film industry due to its relatively low production costs and strong box office performance (Mon, 2014). Taiwanese horror film In light of such a distinct genre preference, which varies between domestic and foreign offerings, along with the limited production volume of horror films, the question arises, which factors contribute to the noteworthy appeal of Taiwanese horror films among local audiences? Several key themes define the genre: its engagement with local folklore, contemporary societal anxieties, and a fragmented Taiwanese identity. Folklore Folklore is defined as “the unrecorded traditions of a people” (Brunvand, 1998). It broadly encompasses legends, superstitions, and stories. In Western horror, folklore has given rise to some of the genre’s most enduring antagonists, including Dracula, inspired by Eastern European vampire myths; Frankenstein’s monster, rooted in Gothic anxieties about the reanimation of the dead; and werewolves, drawn from medieval European legends. Despite the widespread popularity of Western horror and its well-established conventions, Figure 1 Ratio of box office representation to production share by genre in domestic Taiwanese films Source: Author’s calculations based on highest-grossing film lists from the Taiwan Creative Content Agency. Figure 1 Ratio of box office representation to production share by genre in domestic Taiwanese films Source: Author’s calculations based on highest-grossing film lists from the Taiwan Creative Content Agency
5 MARTINDALE CENTER FOR THE STUDY OF PRIVATE ENTERPRISE Taiwanese horror prior to the 1980s did not typically use identifiable elements from local folklore, notwithstanding a strong fascination with the occult and the supernatural among the Taiwanese (Boey, 2012). The same was true in Hong Kong, where, even though “Chinese folklore contains as many ghosts, demons, vampires, and assorted fiends as Western cultures,” there was no great tradition of supernatural creatures (O’Brien, 2003). As a result, this vast source of material remained largely untapped until Hong Kong filmmaker Sammo Hung directed Gui Da Gui (1980), a film that combined elements of comedy and the martial arts genre with traditional Chinese ghost lore. As Gui Da Gui achieved impressive commercial success, more directors began drawing from local and regional mythology to conjure antagonizing entities. Several factors led to this shift happening in Taiwan as well, including a growing interest in cultural preservation, the loosening of censorship laws, and the success of folklore-driven horror in neighboring markets. Today, nearly all contemporary Taiwanese horror films are adapted from local folklore, which is a distinguishing feature of the genre when contrasted with its international counterparts (Wu, 2024). The Tag-Along (directed by Cheng Wei-hao, 2015), for example, is based on an infamous Taiwanese urban legend. In 1998, a popular television show aired an episode where a group of hikers displayed an amateur film they recorded on one of their hikes in Taichung. Throughout the video, a little girl in red can be seen following the group, yet none of the hikers noticed her at the time. Following the episode’s airing, accounts and sightings of the little girl multiplied as people speculated her to be a môo-sîn-á, a mischievous spirit believed to dwell in the island’s forests and mountains. The film incorporates this legend into a contemporary horror narrative. The môo-sîn-á is reimagined as a creature that lures people to the wilderness by preying on their guilt and fear; in this case, the film’s protagonists have failed in their familial or social obligations. Through this adaptation, The Tag-Along transforms a localized folk belief into broader commentary on duty and the consequences of neglecting it. The Bride (directed by Lingo Hsieh, 2015) is based on the traditional Chinese practice of ghost marriage, where a deceased person is wed to a living individual or another deceased person. Historically, ghost marriages served to establish kinship ties between families (Topley, 2011). In contemporary practice, the ritual serves to ensure the deceased’s inclusion on the family altar alongside their ancestors, a privilege that unmarried individuals do not receive (Freedman, 1970). The film adapts this ritual into a horror narrative of a man coerced into a ghost marriage by the spirit bride’s family, only to face her vengeance when the ritual is unexpectedly interrupted. By centering this practice in its plot, The Bride transforms a familiar tradition into a source of horror, drawing on anxieties surrounding marriage, obligation, and the consequences of disrupting ancestral customs. Together, these films exemplify a broader trend in Taiwanese horror. Folklore is reinterpreted within modern contexts and used not only as a narrative device but also as a means of exploring broader societal concerns. Contemporary societal anxieties Traditional values in Taiwan are rooted in Confucianism, which emphasizes family loyalty, social hierarchies, and harmony. These staple values of Taiwanese society have dictated family dynamics, gender roles, and filial expectations. However, the urbanization and globalization of Taiwan, particularly in the twenty-first century, have led to an increasingly individualistic society where younger generations tend to prioritize autonomy, career, and romance over familial obligations and societal conventions. This conflict became prominent following Taiwan’s economic development in the 1960s and 1970s; at the same time, traditional cultural norms have continued to shape contemporary family patterns, resulting in increased tensions (Coombs & Sun, 1981; Yi & Chang, 2019). Audiences may look to film for addressing conflicting and shifting values. Taiwanese horror films therefore may resonate with local audiences by rooting in contemporary societal anxieties. Through the characteristic conflict of the self and the other, horror lends itself particularly well to depicting discord between traditional and modern values within a rapidly evolving Taiwan. In The Tag-Along, the supernatural threat is directly tied to neglecting traditional responsibilities. Wei, the film’s protagonist, prioritizes his career and relationship over caring for his grandmother. When she vanishes, Wei is forced to confront his guilt over their strained relationship, which left her vulnerable to the môo-sîn-á. The film reinforces this connection by later shifting focus to Wei’s girlfriend, Yi-Chun, who is haunted after expressing reluctance to marriage
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