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This study explores the trajectory of how a new wave of documentary making has incorporated or resisted dominant social forces to create fissures in the commercial cinematic spaces. Two documentary blockbusters The Long Goodbye (2010) and Beyond Taiwan (2013) are examined to explicate how the restructuring of cinematic spaces in Taiwan has facilitated changes in documentary screening culture and spectatorships, leading to the recent documentary renaissance. This result suggests that independentdoi:10.1080/23311983.2016.1148656 fatcat:fkwb24fbijagxmvt36uag2vika