While Taiwan-centric nativization has been a prominent trend in post-martial law Taiwan literature and film, there has been a notable transformation in literary works and films in the new millennium. This transformation has been characterized by endeavors to explore Taiwan's intricate interactions with the global community, specifically through the lens of people's movement, migration, and displacement. As nearly a quarter-century has passed, it is now an opportune moment to reflect on how literary works and films produced in the past 25 years have portrayed Taiwan's evolving social, cultural, and political landscape and the experiences of individual writers and directors navigating these transformative shifts.

The term “mobility” can be understood from various perspectives. It can encompass the actual movements of Taiwanese people, both domestically from rural areas to cities or vice versa, and transnationally, such as traveling or living abroad facilitated by globalization. It also includes those who immigrate to Taiwan from elsewhere for better economic opportunities or more conducive creative environments. Literature and films provide creative outlets for expressing the challenges individuals face as they adapt to urban life, confront social disparities, and grapple with issues of identity and belonging.

On a textual level, mobility encompasses genre transplantation, translation, and reimagining of previously published or filmed works. One notable reinvention is seen in the works of younger writers known as "neo-nativist literature." In the realm of 21st-century cinema, the once highly regarded "art films" of Taiwan's new wave in the 1980s have had limited impact on the domestic market, while several other films have achieved significant commercial success. This era has also shifted toward transmedial storytelling, as evidenced by the popular television series based on Wu Mingyi’s The Magician on the Skywalk and Chen Yaochang’s Puppet Flower.

Furthermore, the theme of "mobility" allows for exploring major theories and analytical frameworks, such as the Global South, minor transnationalism, migration or diaspora studies, world literature, Indigenous Studies, environmental humanities, and more. Therefore, we propose using "mobility" as a prism to reflect the multifaceted nature of movement, migration, and displacement within Taiwanese society and its connections.
We welcome submissions that examine the following themes, but we are also open to receiving submissions that offer alternative perspectives on "mobility" beyond what is specifically mentioned below.
• Self-representations or representations of migrants (or migration experiences) in literature and film
• The geopolitical implications of literary or film production
• The applicability and limitations of the global south, minor transnationalism, or other relevant theories
• Texts in motion: adaptation, translation, remaking circulation or reception of Taiwan literature and film
• Implications of border crossing as a result of global forces that link peoples or institutions across nations
• Transmediality: transmedia narrative and storytelling in literary and cinematic production

Timeline:
• Abstract submission deadline: May 31, 2024 (250-300 words, accompanied by a short bio in either English or Chinese)
• Notification of abstract acceptance: June 30, 2024
• Full paper submission deadline: September 30, 2024 (6000-8000 words in English, or around 12000 words in Chinese)
• Notification of acceptance: November 30, 2024
• Revised manuscript submission deadline: January 31, 2025
• Estimated publication: Spring, 2025

Any questions or abstract submissions should be directed to the special issue editors:
Pei-yin Lin: pylin@hku.hk
Hsin-Chin Evelyn Hsieh: hchsieh@ntu.edu.tw
Wan-jui Wang: wanjui1230@gmail.com