Investigates how geographical environments are mapped in Taiwanese cinema Offers a wide-ranging account of an under-researched period in Taiwanese film history, the years 2008 to 2020 Foregrounds the importance of mapping in recent Taiwanese cinema, bringing together perspectives from cartography, film poetics, cultural history, design, gender and queer studies, East Asian studies, and production studies Analyses thematic, aesthetic, and historical trends, and films of diverse genres and styles, in contrast to the more typical focus on auteur directors and art cinema Draws on existing and original interviews with filmmakers, providing first-hand perspectives on the topics discussed What is the relationship between filmmaking and mapping? Accounting for the unique characteristics of Taiwan's cinema from 2008 to 2020, this book examines how filmmakers have depicted and imagined the island's diverse environments. Drawing on cinema, cartography, and cultural studies, Christopher Brown argues that by refocusing attention on how films are shaped through a process of construction, the tradition of film poetics enables us to think about Taiwanese cinema differently: as a form of mapping. Wide-ranging in scope and drawing on original interviews with contemporary filmmakers, the analysis appraises case studies including works of popular entertainment, genre cinema such as comedies and horror, films about indigenous communities, LGBTQ+ cinema, and arthouse work. By asking what it means to map an environment onscreen, the book offers new insights into a critically neglected, yet creatively dynamic, period in Taiwan's film history.