Chinese

(1)Books and Articles
2003 Cinema yearbook in Republic of China中華民國92年電影年鑑. National Film Archive, 2003.
2007 Taiwan Cinema Yearbook 2007年台灣電影年鑑. Government Information Office, Executive Yuan, 2007.
2018 Taiwan Cinema Yearbook 2018台灣電影年鑑. Taiwan Film Institute, 2018.
2020 Taiwan Cinema Yearbook 2020台灣電影年鑑. Taiwan Film and Audiovisual Institute, 2020.
Chang Yan-hsien張炎憲. “Dao yan: baise kongbu yu zhuanxing Zhengyi” 導言: 白色恐怖與轉型正義 [Introduction: White Terror and Transitional Justice]. Jieyan shiqi baise kongbu yu zhuanxing Zhengyi lunwen ji戒嚴時期白色恐怖與轉型正義論文集 [Collection of White Terror and Transitional Justice during the Martial Law Period]. Ed. Chang Yen-hsien張炎憲and Chen Mei-jung陳美蓉. Wu San-Lien foundation for Taiwan Historical Material, 2009, pp. 2-13.
Chou Wan-yao 周婉窈. Zhuanxing zhengyi zhilu: daoyu de guoqu yu weilai 轉型正義之路: 島嶼的過去與未來 [The Road to Transitional Justice: The Past and Future of an Island]. National Human Rights Museum, 2019.
Lee Yu-cheng李有成. Jiyi zhengzhi記憶政治 [The Politics of Memory]. Ed. TEE Kim Ton 張錦忠. Center for the Humanities, NSYSU, 2020.
Li Xiao-feng李筱峰. “Taiwan jieyan shiqi zhengzhi fan de zaoyu yu chujing: zhengzhi shounanzhe de jingyan jianzheng” 台灣戒嚴時期政治犯的遭遇與處境: 政治受難者的經驗見證 [Encounter and Conditions of Political Prisoners during the Martial Law Period in Taiwan: Testimonies of Political Victims]. Jieyan shiqi baise kongbu yu zhuanxing Zhengyi lunwen ji戒嚴時期白色恐怖與轉型正義論文集 [Collection of White Terror and Transitional Justice during the Martial Law Period]. Ed. Chang Yen-hsien張炎憲and Chen Mei-jung陳美蓉. Wu San-Lien foundation for Taiwan Historical Material, 2009, pp. 385-423.
(2)Electronic Recourses
Lynn. “Daili kunjing, dazhe hengda, tuandui zhuanxing, zhengfu zhiyuan…Taiwan youxi chanye mailuo shendu pouxi, fangtan Rayark Inc. gongtong chuangbanren- Yu Ming-yang (three)” 代理困境、大者恆大、團隊轉型、政府支援… 台灣遊戲產業脈絡深度剖析，訪談雷亞遊戲共同創辦人─游名揚 (三) [Proxy Challenges, Dominance of Giants, Team Transformation, Government Support... In-depth Analysis of the Context of Taiwan's Gaming Industry: An Interview with Yu Ming-yang, Co-founder of Rayark Inc. (Part 3)]. Kopuchat, 30 July, 2018, https://kopu.chat/2018/07/30/game-industry-inverview/. Accessed 02 Jan. 2022.
Peng Jen-Yu彭仁郁. “ Fan xiao zhihou, ni/ni de zilian chongji, ta/ta de chuangshang”「返校」之後, 你／妳的自戀衝擊、她／他的創傷 [After Detention, Your Narcissistic Impact, Her/his Trauma ]. GUAVA anthropology, 21 Oct. 2019, https://guavanthropology.tw/article/6758. Accessed 13 Jan. 2022.
Xu Jian-rong許建榮. “Taiwan In Numbers: dianjing chanye jiu Taiwan” Taiwan In Numbers: 電競產業救台灣 [Taiwan In Numbers: The E-sports Industry Saving Taiwan]. Up Media, 9 Oct. 2016, www.upmedia.mg/news_info.php?SerialNo=5230. Accessed 15 Jan. 2022.
Zheng Shao-fan 鄭少凡. “Cengjing shijie di san, Taiwan youxi chanye shiluo de shinian” 曾經世界第三 台灣遊戲產業失落的十年 [The Lost Decade of Taiwan's Gaming Industry: Once the World's Third Largest]. Watchinese, 5 Feb. 2013, https://www.watchinese.com/article/2013/4934. Accessed 15 Jan. 2023.
(3)Game / Film
Detention 返校. Red Candle Games赤燭遊戲, 2017. Digital Game.
Detention 返校. Dir. John Hsu徐漢強. Warner Bros. Taiwan, 2019. Film.

English

(1)Books
Agamben, Giorgio. Remnants of Auschwitz: The Witness and the Archive. Zone Books, 1999.
Assmann, Aleida. “Canon and Archive.” Media and Cultural Memory, edited by Astrid Erll and Ansgar Nünning, De Gruyter, 2008, pp. 97-107.
Assmann, Jan. “Communicative and Cultural Memory.” Media and Cultural Memory, edited by Astrid Erll and Ansgar Nünning, De Gruyter, 2008, pp. 110-18.
Bordwell, David. “Classical Narration.” The Classical Hollywood Cinema: Film Style & Mode of Production to 1960, edited by David Bordwell et al., Routledge, 1985, pp. 24-41.
_____. “Three Dimensions of Film Narrative.” Poetics of Cinema. Routledge, 2007, pp.85-134.
Carroll, Noel. The Philosophy of Horror. Routledge. 1990.
_____. “Why horror?” Horror, the Film Reader, edited by Mark Jancovich, Routledge, 2002, pp. 30-39.
Caruth, Cathy. Unclaimed experience: Trauma, narrative, and history. The Johns Hopkins University Press, 1996.
Dovey, Jon and Kennedy, Helen W. “Computer Game as Media Text?” Game Cultures: Computer Games As New Media, Open University Press, 2006, pp.85-103.
Felman, Shoshana. “After the Apocalypse: Paul de Man and the Fall to Silence.” Testimony: Crisis of Witnessing in Literature, Psychoanalysis, and History, edited by Shoshana Felman and Dori Laub, Routledge, 1992, pp. 120-64
_____. “The Return of the Voice: Claude Lanzmann’s Shoah.” Testimony: Crisis of Witnessing in Literature, Psychoanalysis, and History, edited by Shoshana Felman and Dori Laub, Routledge, 1992, pp. 204-83
Felman, Shoshana and Dori Laub. Testimony: Crises of Witnessing in Literature, Psychoanalysis, and History. Routledge, 1992.
Flew, Terry. New Media: an Introduction, 4th edition, Oxford University Press, 2014.
Freud, Sigmund. Beyond the Pleasure Principle, edited by James Strachey, W. W. Norton, 1990.
Huizinga, Johan. “Nature and Significance of Playas a Cultural Phenomenon.” The Game Design Reader: A Rules of Play Anthology, edited by Salen, Katie and Eric Zimmerman, MIT Press, 2005, pp. 96-120.
Jenkins, Henry. “Game Design as Narrative Architecture.” First Person: New Media as Story, Performance, and Game, edited by Noah Wardrip-Fruin and Pat Harrigan, MIT Press, 2004, pp. 118-30.
Jones, Steven E. “New Media and Modeling: Games and the Digital Humanities.” A New Companion to Digital Humanities, edited by Susan Schreibman, Ray Siemens, and John Unsworth, John Wiley & Sons, 2016, pp. 84-97.
Kennedy, Rosanna. “Memory, History and the Law: Testimony and collective memory in Holocaust and Stolen Generations trials.” Memory and History- Understanding Memory as Source and Subject, edited by Joan Tumblety, Routledge, 2013, pp. 50-67.
_____. “Trauma and Cultural Memory Studies.” The Routledge Companion to Literature and Trauma, edited by Colin Davis and Hanna Meretoja, Routledge, 2020, pp. 54-65.
Landsberg, Alison. “Prosthetic Memory: the Ethics and Politics of Memory in an Age of Mass Culture.” Memory and Popular Film, edited by Paul Grainge, Manchester University Press, 2003, pp. 144-61.
_____. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. Columbia University Press, 2004.
Laub, Dori M.D. “Bearing Witness or the Vicissitudes of Listening.” Testimony: Crisis of Witnessing in Literature, Psychoanalysis, and History, edited by Shoshana Felman and Dori Laub, Routledge, 1992, pp. 57-74.
_____. “Truth and Testimony: The Process and the Struggle.” Trauma: Explorations in Memory, edited by Cathy Caruth, The John Hopkins University Press, 1995, pp. 61-75.
Mäyrä, Frans. An Introduction to Game Studies, SAGE Publications Ltd, 2008.
_____. “Getting into the Game: Doing Multidisciplinary Game Studies.” The Video Game Theory Reader 2, edited by Mark J. P. Wolf and Bernard Perron, Routledge, 2009, pp. 313-30.
Murray, Janet. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. MIT Press, 2017.
Paxton, John. Companion to the French Revolution. Facts on File, 1988.
Rigney, Ann. “The Dynamics of Remembrance: Texts between Monumentality and Morphing.” Media and Cultural Memory, edited by Astrid Erll and Ansgar Nünning, de Gruyter, 2008, pp. 345-53.
Rollings, Andrew and Adams, Ernest. on Game Design. New Riders, 2003.
Scovell, Adam. Folk Horror: Hours Dreadful and Things Strange. Columbia University Press, 2017
Sternberg, Meir. Expositional Modes and Temporal Ordering in Fiction. Johns Hopkins University Press, 1978.
Stobbart, Dawn. “Introduction - A Light in the Darkness: Videogames and Horror.” Videogames and Horror: From Amnesia to Zombies, Run! University of Wales Press, 2019, pp. 1–21.
Thompson, Kristin. “Modern Classicism.” Storytelling in the New Hollywood: Understanding Classical Narrative Technique. Harvard University Press, 1999, pp. 1-49.
Tudor, Andrew. “From Paranoia to Postmodernism? The Horror Movie in Late Modern Society.” Genre and Contemporary Hollywood, edited by Steve Neale. British Film Institute, 2022, pp. 105-16.
_____. Monsters and Mad Scientists: A Cultural History of the Horror Movie. Basil Blackwell, 1989.
_____. “Why horror? The peculiar pleasures of a popular genre.” Horror, the Film Reader, edited by Mark Jancovich. Routledge, 2002, pp. 40-46.
Weaver, James B. and Ron Tamborini. “Frightening Entertainment: A Historical Perspective of Fictional Horror.” Horror Films: Current Research On Audience Preferences and Reactions, edited by James B. Weaver and Ron Tamborini, Lawrence Erlbaum Associates, Inc., 1996, pp. 1-13.
Wiesel, Elie, Night. Translated by Marion Wiesel, Hill and Wang, 2006.

(2)Journal Articles
Adams, Jill Petersen. “Acts of Irreconcilable Mourning: Post-Holocaust Witness and Testimony.” Culture, Theory and Critique, vol. 56, no. 2, 2015, pp. 228-44.
Begy, Jason. “Board Games and the Construction of Cultural Memory.” Games and Culture, vol. 12, no. 7-8, 2015, pp. 718-38.
Belman, Jonathan, and Mary Flanagan. “Designing Games to Foster Empathy.” Cognitive Technology, vo1. 4, no. 2, 2010, pp. 5-15.
Djikic, Maja, Keith Oatley, and Mihnea C. Moldoveanu. “Reading other minds: Effects of literature on empathy.” Scientific Study of Literature, vol. 3, no. 1, 2013, pp. 28-47.
Erll, Astrid and Ann Rigney. “Literature and the Production of Cultural Memory: Introduction.” European Journal of English Studies, Routledge: Taylor & Francis, vol. 10, no. 2, 2006, pp. 111-15.
Erll, Astrid. “Cultural Memory Studies: An Introduction.” Media and Cultural Memory, edited by Astrid Erll and Ansgar Nünning, De Gruyter, 2008, pp.1-15.
_____. “Literature, Film, and the Mediality of Cultural Memory.” Media and Cultural Memory, edited by Astrid Erll and Ansgar Nünning, De Gruyter, 2008b, pp. 389-98
_____. “Traumatic pasts, literary afterlives, and transcultural memory: new directions of literary and media memory studies.” Journal of Aesthetics & Culture, vol. 3, no. 1, 2011, pp. 1-5.
Farber, Matthew and Karen Schrier. “The Limits and Strengths of Using Digital Games as “Empathy Machines.” Mahatma Gandhi Institute of Education for Peace and Sustainable Development / UNESCO. 2017.
Hirsch, Marianne. “The Generation of Postmemory.” Poetics Today, vol. 29, no. 1, 2008, pp. 103-28.
Kennedy, Rosanne, Lynne Bell, and Julia Emberley. “Decolonising testimony: on the possibilities and limits of witnessing.” Humanities Research, vol. 15, no. 3, 2009, pp. 1-10.
Mar, Raymond A., Keith Oatley, and Jordan B. Peterson. "Exploring the link between reading fiction and empathy: Ruling out individual differences and examining outcomes." Communications, vol. 34, no. 4, 2009, pp. 407-28.
Pinedo, Isabel. “Recreational Terror: Postmodern Elements of the Contemporary Horror Film.” Journal of Film and Video, vol. 48, no. 1/2, 1996, pp. 17-31.
Rigney, Ann. “Divided Pasts: A Premature Memorial and the Dynamics of Collective Remembrance.” Memory Studies, vol. 1, no. 1, 2008, pp. 89-97.
_____. “Plenitude, Scarcity and the Circulation of Cultural Memory.” Journal of European Studies, vol. 35, no.1, 2005, pp. 11-28.
_____. “Portable Monuments: Literature, Cultural Memory, and the Case of Jeanie Deans.” Poetics Today, vol. 25, no. 2, 2004, pp. 361-69.
_____. “Reconciliation and remembering: (how) does it work?” Memory Studies, vol. 5, no. 3, 2012, pp. 251-58.
_____. “Remembering Hope: Transnational activism beyond the traumatic.” Memory Studies, vol. 11, no. 3, 2018, pp. 368-80.
Soueid, Marie, Ann Marie Willhoite, and Annie E. Sovcik. “The Survivor-centered APPROACH To Transitional Justice: Why A Trauma-informed Handing of Witness Testimony is A Necessary Component.” George Washington International Law Review, vol. 50, no. 1, 2017, pp.125-79.
Stansfield, John and Bunce, Louise. “The Relationship Between Empathy and Reading Fiction: Separate Roles for Cognitive and Affective Components.” Journal of European Psychology Students, vol. 5, no. 3, 2014, pp. 9-18.
Wu, Naiteh. “Transition without Justice, or Justice without History: Transitional Justice in Taiwan.” Taiwan Journal of Democracy, vol. 1, no. 1, 2005, pp. 77-102.

(3)Electronic Recourses
Bernard-Donals, Michael, and Richard Glejzer. “Between Witness and Testimony: Survivor Narratives and the Shoah.” College Literature, vol. 27, no. 2, 2000, pp. 1–20. JSTOR, www.jstor.org/stable/25112512. Accessed 21 March. 2022.
Clay, Stephen. “Justice, Vengeance and the Revolutionary Past: the Crimes of the White Terror.” Annales Historiques de la Révolution Française, vol. 350, 2007, pp.109-33. URL: http://www.jstor.org/stable/41890131. Accessed 03 March. 2021.
Darvasi, Paul. “Empathy, Perspective and Complicity: How Digital Games can Support Peace Education and Conflict Resolution.” UNESCO MGIEP Working Paper. 2016, unesdoc.unesco.org/ark:/48223/pf0000259928. Accessed 03 January 2022.
Grant, Barry K. “Screams on Screens: Paradigms of Horror.” Loading…. Vol. 4, no. 6, 2010, journals.sfu.ca/loading/index.php/loading/article/view/85/82. Accessed 15 March 2022.
Jones, Steven E. “The Emergence of the Digital Humanities (as the Network Is Everting).” Debates in the Digital Humanities, edited by Matthew K. Gold and Lauren F. Klein, University of Minnesota Press, 2016, pp. 3-15. www.jstor.org/stable/10.5749/j.ctt1cn6thb.4?seq=1. Accessed 12 April 2022.
McRoy, Jay. “The Horror Is Alive. Immersion, Spectatorship, and the Cinematics of Fear in the Survival Horror Genre.” Reconstruction, vol. 6, no.1, 2006, reconstruction.digitalodu.com/Issues/061/mcroy.shtml. Accessed 28 December 2022.