Among her many creative and administrative works, Chiao served as chair of the Golden Horse Film Festival in Taiwan in 2007 and 2008. She works often as a juror for film festivals including Berlin, Venice, Rotterdam, San Sebastian, Buenos Aires, Vancouver, Singapore and Fukuoka.
She is also the author of many publications.
And next, the ever-busy Chiao will publish more books on cinema and start work on a collection about relations across the Taiwan Strait, which will involve 10 recent movies.
The Campus Film Festival at Nanchang University, which attracted names such as Xie Fei, famed director and professor of Beijing Film Academy, was not the first time Chiao has worked with a young film festival on China's mainland.
Last October she was a jury member at the student-run Hangzhou Asian Film Festival in Hangzhou, Zhejiang Province.
The mother of Taiwan new cinema sees her role as helping young filmmakers on China's mainland and Taiwan.
"I like those young people who are full of passion for cinema. They're working at a time when the film industry is on the rise in their country."
However, Chiao cautions the mainland industry not to put profit before product.
"It's common for investors to see a film simply as a money-making machine. They think all they need to draw audiences is a big scene, special effects, some stars and a formulaic storyline," Chiao said.
"I cannot allow this, otherwise audiences will lose taste."
In her efforts to nurture audience tastes, Chiao hopes to see more arthouse films shot and shown on China's mainland.
"If audiences find that low-budget art films can make as big an impression on them as big movies, they will stop and think, and there will be hope," Chiao said.
As a reviewer in the early 1980s, Chiao championed new Taiwan cinema, heaping high praise on Hou, known for his elliptical and slow storytelling style, and who became the leading figure of Taiwan's New Wave.
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