This article studies the star phenomenon driven by the emergence and rapid development of the taiyupian —Taiwanese-language films — industry in the 1950s through the lenses of the “dream of stardom” and “Hong Kong fever.” The media discourse on the star phenomenon allows researchers to probe into the contemporary society’s reaction to this newly developed industry as well as trace ideological operations that organize public perceptions of culture. The article explores the formation of taiyupian culture and related media discourse through the lens of star phenomenon during its nascent years—from 1955 to 1960—and the convoluted and sometime paradoxical relations between gender, nation, and modernity. By reading newspaper stories related to “dream of stardom” and “Hong Kong fever,” I attempt to point out the dominant ideology’s operation in journalistic representations seeking to contain the phenomena within Sinocentric nationalism. Newspaper stories about “dream of stardom” and “Hong Kong fever” applied the dichotomous framing of Mandarin film and taiyupian film industry—the pure vs. impure—and the rhetoric of nationalizing guoyupian to provincialize taiyupian. The article will analyze taiyupian stars’ cosmopolitan desire in their Hong Kong experiences and argue that, as uncontainable excess of the emergent culture, it circumvents the Sinocentric nationalism.