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Shiao–Hua for allowing me to use their secluded retreat to write this book. I would also like to thank Joan Rosenthal, who assisted in editing and helping to make my English more readable, and to David Wang, who provided friendly support to me.
I would like to thank the many people working in Screensound Australia (Canberra), National Archive of Australia (Canberra), and Film Australia and Screen Australia (Sydney). A special thank goes to Medina Robertson who assisted me in clearing copyright matters for the film stills used in this book. In the process of conducting my field research in these organisations, my wife Su–kan Lin provided me enormous assistance in finding books and in recording the coding of the content of documentary films. She was supportive and contributed greatly to this book in various stages.