Rethinking transnationalism
Hokkien heritage
Euphoria of the transnational
Locating Amoy-dialect films
Contextualizing Amoy-dialect cinema
Studying Xiayupian
Defining Amoy-dialect cinema
Third Chinese cinema
What makes a film a Xiayupian?
When is an Amoy-dialect film not an Amoy-dialect film?
Beyond the screen
Origins and development
Postwar Hokkien world
Philippine financing
Amoy-dialect film family
Shaping of a cinema
Popular tales of ancient days
Politics of Amoy-dialect cinema
Lychees and mirrors
Chinese classics and Taiwanese stories
Malayan Amoy-dialect realism
New Amoy-dialect films
Reinventing the industry
Eng Wah, Kong Ngee and shaws
New Amoy-dialect films
Hong Kong is heaven
Modern Hokkien songs
Suipian Dengtai
Cold-war industry
Xiayupian and the nationalist state
Fraught relationship
Monopoly on Hokkien cinema
Amoy-dialect patriotism
Cinema for non-communist China
End of Amoy-dialect cinema
1963, a year of some significance
Decline in production
Death of an industry
Housewives' matinées
Impossibility of Xiayupian
Conclusion.