Language：English   Publishing type：Research paper (scientific journal)  

Language：English   Publishing type：Research paper (scientific journal)   Publisher：Routledge  

Exhibitions known as Film Weeks (dianyingzhou) were systematically launched nationwide in the Peoples Republic of China by the state to showcase imported films during the Seventeen Years (1949-1966), which was a crucial period for the establishment of the socialist regime. This study identifies film weeks as a specific type of film festival, situates their analysis within the sociopolitical context of the Seventeen Years, and explores them as a dynamic process in which actors such as the Chinese film industry, film professionals, and audiences negotiated with the authority of the party-state, and a centralized cultural system. Central to the Chinese states encompassing cultural exchange programs with nations both within and outside the socialist bloc, the practice of film weeks highlighted Chinas changing stance in cold war power politics. Meanwhile, film weeks promoted the practices of socialist cinéphilia in engaging Chinese audiences with foreign film cultures. Using case studies of the Soviet Film Week in the 1950s and the 1957 Asian Film Week, this article historicizes film weeks connections with an increasingly globalizing film festival network while also examining how the vernacular practices of Chinese festivals can contribute to rethinking film festival studies Eurocentric discursive framework.

DOI： 10.1080/17400309.2015.1107266

Scopus

Authorship：Corresponding author   Language：English   Publishing type：Research paper (scientific journal)  

DOI： https://doi.org/10.1080/17564905.2021.2001143

Language：English   Publishing type：Research paper (scientific journal)  

Intersecting both fields of film festival studies and transnational cinema studies, this article examines how Asian documentary film festivals help to configure and orchestrate regional documentary/film connections. In particular, this work examines Asia's earliest documentary film festival, the biennial Yamagata International Documentary Film Festival (YIDFF), established in 1989 in Japan, and one of its visionary founders, documentarist Ogawa Shinsuke. This project first traces how YIDFF articulated Ogawa's ideal of establishing a creative alliance of young generations Asian filmmakers toward the region's post-Cold War transition. Subsequently, the YIDFF, intertwined with the changing political economy of global and regional film festivals since the 1990s, has taken up Ogawa's legacy and renewed efforts to generate an Inter-Asian film network. This article leverages Anna Tsing's conceptualization of global connections to distinguish the YIDFF's region-making project and rethink the discursive framing of international film festival network. Additionally, it grasps the political significance of the YIDFF's region-making by explaining how, as an idiosyncratic festival model, it has disturbed and reframed the given configuration of global image consumption and circulation, and has been retained and reinvented through intra-festival connections across Asia.

DOI： 10.1080/20403526.2017.1379733

Authorship：Lead author   Language：English   Publishing type：Research paper (scientific journal)  

Authorship：Lead author   Language：English  

Authorship：Last author,　Corresponding author  

Looking at Soyoung Kim’s Exile Trilogy (2014–2017), three documentaries centering on ethnic Koreans in Central Asia (formerly USSR) and specifically the use of archival footages and soundtracks in Sound of Nomad, Arirang (2016), this article considers Kim’s works an organic contribution to the image archive of/about/by the global Korean diaspora while seeking to interrogate the politics of “retro” by turning to what Catherine Russell has approached as “archiveology.” Foregrounding the representation of the transgenerational divas from the “Arirang Ensemble” of the Koryo Theater in Almaty, Kazakhstan, this piece highlights how the divas’ personal stories reconstructed via images, oral accounts, sound recordings, and so forth need to be grasped as an assemblage of affective flows that has complicated the teleological narrative about the Korean diaspora and problematized the Soviet state’s ideocultural representations of the Koryo people.

Language：English   Publishing type：Research paper (scientific journal)   Publisher：Informa {UK} Limited  

DOI： 10.1080/17564905.2021.2001143

Language：English   Publishing type：Research paper (scientific journal)   Publisher：Informa {UK} Limited  

DOI： 10.1080/17564905.2021.1985357

Language：English   Publishing type：Research paper (scientific journal)   Publisher：Informa {UK} Limited  

DOI： 10.1080/17564905.2021.1930474

Language：English   Publishing type：Research paper (scientific journal)  

CiNii Research

Language：English   Publishing type：Research paper (scientific journal)  

CiNii Research

Language：English   Publishing type：Research paper (scientific journal)  

CiNii Research

Language：English   Publishing type：Research paper (scientific journal)  

CiNii Research

Language：English   Publishing type：Research paper (scientific journal)  

Language：English   Publishing type：Research paper (scientific journal)  

Language：Chinese   Publishing type：Research paper (scientific journal)  

Language：Chinese   Publishing type：Research paper (scientific journal)  

Language：Chinese   Publishing type：Research paper (scientific journal)  

Language：Chinese  

Language：Chinese   Publishing type：Research paper (scientific journal)  

Language：English   Publishing type：Research paper (scientific journal)  

Language：Chinese   Publishing type：Research paper (other academic)  

Language：English   Publishing type：Research paper (scientific journal)  

CiNii Research

Language：English   Publishing type：Research paper (scientific journal)  

CiNii Research

Language：Japanese   Publishing type：Research paper (scientific journal)  

DOI： 10.18999/juncture.6.205

CiNii Books

Other Link： http://hdl.handle.net/2237/00031230

Language：English   Publishing type：Research paper (other academic)  

Authorship：Lead author   Language：English   Publishing type：Research paper (scientific journal)  

Language：English   Publishing type：Research paper (scientific journal)  

Authorship：Lead author   Language：English   Publishing type：Research paper (scientific journal)  

Event date： 2017.3

Language：English   Presentation type：Oral presentation (general)  

Venue：Toronto   Country：United States  

This project engages the genealogy of sino-foreign coproductions by shedding light upon People's Republic of China's early adventures into cinematic collaborations with the Soviet as well as France in the 1950s.

Event date： 2016.6

Language：English   Presentation type：Oral presentation (general)  

Venue：Nanyang Technological University, Singapore   Country：Singapore  

Event date： 2016.3 - 2016.4

Language：English   Presentation type：Oral presentation (general)  

Venue：Atlanta   Country：United States  

Event date： 2014.8

Language：English   Presentation type：Oral presentation (general)  

Country：Korea, Republic of  

Event date： 2014.6

Language：English   Presentation type：Oral presentation (general)  

Country：United Kingdom  

Event date： 2014.6

Language：English   Presentation type：Oral presentation (general)  

Country：Italy  

Language：English   Presentation type：Oral presentation (general)  

Language：English   Presentation type：Oral presentation (general)  

Venue：Atlanta  

Language：English   Presentation type：Oral presentation (general)  

Venue：Nanyang Technological University, Singapore  

Language：English   Presentation type：Oral presentation (general)  

Language：English   Presentation type：Oral presentation (general)  

Venue：Toronto  

This project engages the genealogy of sino-foreign coproductions by shedding light upon People's Republic of China's early adventures into cinematic collaborations with the Soviet as well as France in the 1950s.

Language：English   Presentation type：Oral presentation (general)  

This seminar aims to survey and examine some of the current debates in media and cienma studies, in paying specific attention to the Asian context and Sinophone mediascapes, both of which have been rarely covered or touched upon in other similar postgraduate courses but is vital to students who aspire to develop their critical horizons vis-à-vis the positioning of media and visual cultures amidst current global geopolitical circumstances. The seminar is structured by following the ‘keywords’ that are in one way or another addressing the cutting-edge topics in media and visual studies today, with a line-up of the most updated and highly selective readings.

It is a postgraduate level seminar with weekly presentations and discussions that are aiming to supervise and offer feedbacks to the students' research projects.

As rightly pointed out by art historian Boris Groys, “there is…nothing more traditional than an orientation to the new”. By traversing and re-examining some of the most exciting and pressing research topics/questions featured in today’s Film Studies, this lecture aims to generate refreshing insights into the study of film cultures in a globalizing yet disorienting era, even if it means that we would have to re-orient ourselves with and start from the seemingly old-fashioned critical frameworks in film studies and cultural studies. Specifically, our weekly lecture will look at how the waves of globalization, urbanization and technological advancement would reframe and contribute to conceptualizing cinema culture from two broadly intersecting aspects, 1) how the cinemas engage contemporary societies historically, aesthetically and politically; 2), how the cycle and dynamics of film production, circulation, exhibition and reception have been related to the shifting discourse from national cinema to transnational and global cinema.

This is an advanced, postgraduate seminar in visual studies and cultural theory. It aims to interrogate the ‘self’ in relation to subject/subjectivity as well as identity in contemporary image-making, by particularly looking at theories and productive discussions on genres like essay film, first-person cinema and the so-called ‘personal documentary’. Diverse intermedial practices related to phenomenon such as the ‘self-media’(zimeiti) and technologies of the ‘self’ within the East Asian context will also be explored.

In this survey course (IFH), we aim to provide the very basic yet crucial horizon of knowledge in studying world film history. Our course consists of several converging critical frameworks, 1) early cinema; 2) national cinema (till 1945), which has been divided into three sections: a) European cinemas from the silent era to the sound era; b) the Hollywood studio system, and c) emerging national film industries in Asia. 3) post-WWII national cinemas, which highlights the postwar European cinema, French New Wave and the fall and rise of Hollywood till the 1990s; 4) a closing section on cinemas in the global era.

This course positions the survey of Asian cinemas within the socio-historical exigencies and cultural context of Japan, Korea, Greater China and Southeast Asia since 1945 and aims to facilitate the understanding of Asian film traditions in relation to the sociopolitical history and discourses of modernities in this region and beyond. Students are expected to acquire the basic knowledge on Asian film history, and are urged to learn to interpret and analyze films by engaging with contemporary socio-cultural issues that became significant during the timeframe under examination.

In this disorienting, globalizing world, the lives and existence of human beings are to great extent defined by the urban conditions they are enmeshed within and contending with. This survey course attempts to look at major urban issues and cultural topics in modern societies by engaging with a wide spectrum of cultural texts drawn from films and other types of visual/image works such as photography, transmedia art projects/installations, manga, and anime.

Our case studies pay particular attention to the social contexts and cities in contemporary East Asia. However, the ‘city’ will not be simply explored as the theme or ambience featured in these texts. Following our adventure of ‘entering’ the city as cultural texts (such as Tokyo, Osaka, Nagasaki/Hiroshima, Beijing, Taipei, and Seoul), with the socio-historical dimensions of urban space theoretically surveyed, we shall at the same time direct our attention to the various types of urbanites and their mental life. While our urban lives are haunted by memories and desire, they have been on the other hand greatly mediated by the newly-developed digital technologies and (platforms of) social media.

Overall, departing from our observations upon Asian metropolises/societies, students are expected to debate and discuss cinematic/visual/cultural texts in relation to the urban condition of local, regional and global scales. Through the lectures, students are expected to learn how to approach and critique the cultural space of cities by utilizing key concepts drawn from various theoretical perspectives such as cultural studies, visual culture, and sociology.

This is an undergraduate level workshop with thesis writing practices and instructions; the major aim is to supervise and instruct the accomplishment of BA thesis projects collectively.

This is an undergraduate level workshop with thesis writing practices and instructions; the major aim is to supervise and instruct the accomplishment of BA thesis projects collectively.