Whenever the name of Brigitte Lin Ching-hsia emerges in any discussion of Hong Kong stardom, the image of Invincible Asia immediately appears. It indelibly associated the actress with a particular image in Hong Kong cinema. Lin's usually neglected Taiwanese films need some exploration
and, hopefully, this study may spur further investigation. The nature of this study is archaeological. I have no knowledge of Chinese, have seen only some 11 films from this period, and can only engage in guesswork as to their more serious implications. But, despite the vast differences these
films exhibit from Lin's later achievements, they are crucial towards understanding the particular way her star image developed over the years.
Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.