This thesis examines the image of Taiwanese cinema in South Korean public media and social media discourse, questioning the hitherto unforeseen “Taiwan Boom” where three Korean remakes of late 2000s and early 2010s Taiwanese youth romance films were released within the span of one year. Noting the particular presence of nostalgic sentiment in the South Korean audience’s perception and consumption of Taiwanese youth romance, the extent of nostalgia’s affective power in constructing the image of Taiwanese cinema in South Korea is examined. This thesis utilizes discourse analysis alongside Gunther Kress and Theo van Leeuwen’s Visual Grammar to analyze newspaper articles, including specific keywords and descriptions, as well as the phrase “Taiwanese film vibe” on social media. The results of the analysis suggest that Taiwanese youth romance films are categorized by specific terms such as “pure” and “refreshing,” with certain colors, textures, and moods constituting the image of Taiwanese cinema in South Korean media spaces. This thesis posits nostalgia as an indispensable factor in the appeal of Taiwanese cinema, wherein the “Taiwanese youth romance film” has established an affective imaginary space through which contemporary audiences can seek varied forms of fulfillment––from the simple pleasures of re-experiencing youthful love to a profound desire for social stability, a return to simpler times.
Hsiao-Lei Fan (2025) studied this question.