Broadcast media should serve as tools for the voices of society, yet for a long time the KMT has held a monopoly over Taiwan's TV channels, using the lack of channel bandwidth as an excuse for its stranglehold. This is much the same as the ban on newspapers: the KMT justified the ban by claiming there was not enough space in the market for new newspaper, which only served to control and dominate the media to do its bidding. Green Team thus went into action to override these unreasonable restrictions.

It is said that the Indian trive San Blas albinos "moon children", who are discriminated in their society. Those "moon children" are allowed to work only at night and marriage is prohibited. In Taiwan, albinos probably fare no better. One day, the 16 year-old WU Kuo-huang was taken as a "ghost" when he returned to the dormitory after work. His factory forced him to leave with all kinds of excuses. Then he was excluded from employment everywhere. Yet WU was never discouraged. His hard work earned him a massage license, which enabled him to set up his professional massage service. WU also won Miss HSIAO's love and got married. Among WU's albino friends, some of them are faced with discrimination at workplace, some study hard to enter college; and the others, still young, are despised by their peers. Moon children and their family bear hardship and pain that is unknown to other.

A 30-year-old man, self-destructive and anxious. A 26-year-old friend with a video camera. This is a very personal film about their relationship. The flamboyant man flirts with the camera, while the filmmaker is tormented, forcing himself to go on with the filming. Their sincerity in the face of undefeatable facts is moving. Now, 20 years later, the filmmaker revisits his protagonist and makes another film titled Goodnight & Goodbye. WU Yao-tung: ‘On Taiwan's National Day in 1997, under the fireworks in Ximenting, I started filming this documentary about the “love and hate” between Tom and me...The filming lasted a whole year. What existed all the time between us was the fight: the fight between the one who filmed and the one who was filmed, the fight to control the camera, and the fight for honesty and trust between friends. But for him, it was probably a fight for life and death. Of course I don't understand how life can be so bitter, desperate, anxious and indifferent. It is not a matter of the essence of documentary or interference. Nor is it a matter of academic theories or practice. It is just about me and him and the questions between us; that's all.’

The East-West Highway was soon to be built in central Taiwan. It would pass through the village of Liu Ts'o, and many homes and rice paddies would be destroyed. The film maker went back to her mother-in-law's village Liu Ts'o, where she did anthropological research from 1976-78, to preserve some images of life forever. This film was shot in a natural and intimate climate. During the annual two harvests, various activities in daily life and festivals were presented in the film reflecting the villagers' attitudes towards gods, ghosts, ancestors, women, farmlands, urbanization, industrialization, reclamation and resettlement. The film maker attempted to reveal the Taiwanese way of facing drastic social changes.Copyright © HU Tai-li. All Rights Reserved.

Mudslides came after a devastating earthquake, forcing 20 families to move out from their homes at the Chingshui village of Chungliao township in Nantou county. Seeking places to survive, residents found a piece of state-owned land at the mountain-foot, with hopes to rebuild their home. But such a practice of using state-owned property to accommodate disaster victims was unprecedented. With assistance from the outside, residents finally made a breakthrough after two years of efforts in garnering the rights to lease the land and were ready to rebuild their home. However, after the county government started the public construction, residents' dream of rebuilding homes disappeared overnight. Copyright ©HUANG Shu-mei. All Rights Reserved.