, 80 niandai shijianbu/80s Diary in Taiwan, 2013.

H. Shengwen, Those Years Nage niao niandai, 2016.

, Wu Ming-yi Tianqiao shang de moshushi/The Illusionist on Skywalk and other short stories, 2011.

C. Neri and R. Taiwan, Le temps retrouvé dans le cinéma sinophone contemporain, 2016.

R. Rosentstone, History on Film, Film on History: History: Concepts, Theories and Practice, 2006.

, The word 'retro' has a quite specific meaning: it refers to a self-conscious fetish for period stylization (in music, clothes, and design) expressed creatively through pastiche and citation. Retro in its strict sense tends to be the preserve of aesthetes, connoisseurs and collectors, people who possess a near-scholarly depth of knowledge combined with a sharp sense of irony. But the word has come to be used in a much more vague way to describe pretty much anything that relates to the relatively recent past of popular culture, Pop Culture Addiction to its own Past, 2011.

, Retro carries a pervasive, if somewhat imprecise, meaning; gradually creeping into daily usage over the past thirty years, there have been few attempts to define it. Used to describe cultural predisposition and personal taste, technological obsolescence and mid-century style (?) 'retro' can serve as little more than a trendy synonym for

, Retro offers an interpretation of history that taps nostalgia and an undercurrent of ironic understanding. Steeped in satire and humour, retro's revivalist imaginary has made its way into the mainstream, shaping how recent past is presented in advertising, film, fashion and a host of form of popular culture, Retro: the Culture of Revival, p.27, 2006.

H. Rosa and W. Scheuerman, High Speed Society: Social Acceleration, Power and Modernity, 2009.

, I obviously refer to the seminal definition by Benedict Anderson in Imagined Communities: Reflections on the Origin and Spread of Nationalism, 1991.

D. Draaisma, The Nostalgia Factory: Memory, Time and Ageing, 2013.

A. Landsberg, Prosthetic Memory: the Transformation of American Remembrance in the Age of Mass Culture, 2004.

W. Wang-wo and Z. Zhuangfan, Wode xiaonu shidai" daoyan Chen Yushan/Don't forget about me, sincerely. Interview with Our Times' director Chen Yushan, vol.520, pp.9-16

M. Ferro, . Cinéma, . Histoire, and G. Paris, , p.23, 1993.

W. Gengyu-guangyin and . Lu, Taiwan xin dianying zai lushang/Film in our Time, 2015.

, Huayu dianying wushi niandai liujinsuiyue/The Moment: 50 years of Sinophone cinema, 2016.

, You may also see these films as part of a separate realm of representation and discourse, one not meant to provide literal truths about past (as if our written history can provide literal truths) but metaphoric truths which work, to a large degree, pp.8-9