1. Aska Yang (楊宗緯) and First Love (初愛) with 11.85 percent of sales
2. Bii (畢書盡) and Welcome Back to Bii with 7.46%
3. Shinlung (辛龍) and io amo (我就是愛) with 6.96%
4. Judy (江蕙) and Yuanzougaofei (遠走高飛) with 5.57%
5. Rene Liu (劉若英) and For the Loved (親愛的路人) with 5.30%
Album chart compiled from G-Music (www.g-music.com.tw), based on retail sales
Taiwan, once relegated to the backwaters of international news media and viewed as a subset topic of “greater China,” is now a hot topic. Words associated with Taiwan include “invasion,” “contingency” and, on the more cheerful side, “semiconductors” and “tourism.” It is worth noting that while Taiwanese companies play important roles in the semiconductor industry, there is no such thing as a “Taiwan semiconductor” or a “Taiwan chip.” If crucial suppliers are included, the supply chain is in the thousands and spans the globe. Both of the variants of the so-called “silicon shield” are pure fantasy. There are four primary drivers
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The female body is a horror movie waiting to happen. From puberty and the grisly onset of menstruation, in pictures such as Brian De Palma’s Carrie and John Fawcett’s Ginger Snaps, to pregnancy and childbirth — Rosemary’s Baby is the obvious example — women have provided a rich seam of inspiration for genre film-makers over the past half century. But look a little closer and two trends become apparent: the vast majority of female body-based horror deals with various aspects of the reproductive system, and it has largely been made by men (Titane and The First Omen, two recent examples
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