With the project “Sinophone Success: The Cultural, Industrial and Geopolitical Dynamics of the Dissemination of Chinese Cinema” I hope to begin a diachronic study of the success of Taiwanese film in Asia and more particularly in China, in other words, in continental China and Hong Kong. This study considers Taiwanese cinema’s era of splendor, namely the boom in Mandarin cinema during the 1960’s; the spread of television series in the 1990’s; and the currently budding “renaissance” of the 2010’s. It will be important, then, to call into question (to problematize) what is understood as “success:” to study archives in order to locate numbers and witnesses; to develop an approach to field surveys and to redevelop approaches to the theory of the reception of film; to analyse diffusion and distribution mechanisms in Taiwan and abroad; and to compare and test screenplay formulas with their literary sources. A rigorous study of the aesthetics of films should be studied in conjunction with distribution, marketing and broadcasting strategies, while simultaneously referring to various media, for example, written sources such as newspapers and magazines.