Faculty Profiles

Papers - MA Ran

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It is all about qingnian dianying: Post-independent Chinese cinema, auteurism, and the FIRST International Film Festival Reviewed International coauthorship

Tong Shan; Ran Ma

Journal of Chinese Cinemas 2023

‘Think Like an Archipelago’——Regarding the Japanese-Chinese Independent Film Culture Connections (1989-2020) Invited Reviewed

Ran Ma

Chinese Independent Cinema Observer ( 1 ) page： 8 - 21 2021.5

Eigasai Inside Out: Programming Japanese Cinema at Overseas and Japanese Film Festivals Today Invited Reviewed

Edited by Fujiki Hideaki & Philip Alastair

page： 164 - 178 2020.5

Reminiscences of a journey to Okinawa: landscape film as essay, and Takamine Gō’s Okinawan Dream Show (1974)

Ran Ma

Journal of Japanese and Korean Cinema Vol. 13 ( 1 ) page： 4 - 21 2021.1

記憶と身体を乗り越える──東北ドキュメンタリー三部作とポスト・福島ドキュメンタリー Reviewed

『〈ポスト 3.11〉メディア言説再考』 page： 283-302 2019.2

In/visibility in post-war Okinawan images 1 Invited Reviewed International coauthorship

Ran Ma & Kosuke Fujiki

Journal of Japanese and Korean Cinema Vol. 13 ( 1 ) page： 1 - 3 2021.5

A Landscape Over There: Rethinking Translocality in Zhang Lu’s Border Crossing Films. Reviewed

Vol. 4 ( 1 ) page： 111-132 2018

A genealogy of film festivals in the Peoples Republic of China: Film weeks during the Seventeen Years (1949-1966) Reviewed

Ran Ma

New Review of Film and Television Studies Vol. 14 ( 1 ) page： 40 - 58 2016.1

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

In/visibility in post-war Okinawan images 2 Invited Reviewed

Kosuke Fujiki & Ran Ma

Journal of Japanese and Korean Cinema Vol. 13 ( 2 ) page： 97 - 98 2021.11

Asian Documentary Connections, Scale-making, and the Yamagata International Documentary Film Festival (YIDFF) Reviewed

Ran Ma

Transnational Cinemas page： 1-17 2017.9

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

Spectacles, showcases, marketplaces (and even public spheres): Chinese film festivals as cultural industries Invited Reviewed

Ran Ma,Cindy Hing-Yuk Wong

Handbook of China's Cultural and Creative Industries page： 320-359 2016

Regarding the Grassroots Chinese Independent Film Festivals : Modes of Multiplicity and Abnormal Film Networking Invited Reviewed

Matthew D. Johnson, Luke Vulpiani, Keith B. Wagner, Kiki Tianqi Yu eds.

China's IGeneration: Cinema and Moving Image Culture for the Twenty-first Century page： 235-253 2014.5

It is all about <i>qingnian dianying</i> : Post-independent Chinese cinema, auteurism, and the FIRST International Film Festival

Shan Tong, Ran Ma

Journal of Chinese Cinemas page： 1 - 23 2023.11

Toward Archiveology: Regarding Nguyen Trinh Thi’s Essay Films in Possibilities and Impossibilities of Art Archives - Theory and Experience in Asia

2023.8

Kim Soyoung’s “Exile Trilogy”—“Retro” Toward an Affective Archive Invited Reviewed International journal

Ran Ma

philoSOPHIA: a Journal of TransContinental Feminism Vol. 11 page： 145 - 153 2021.12

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.

In/visibility in post-war Okinawan images 2

Kosuke Fujiki, Ran Ma

Journal of Japanese and Korean Cinema page： 1 - 2 2021.7

Re-emerging voices and re-imagined landscapes: an interview with Chikako Yamashiro

Ran Ma, Kosuke Fujiki, Christopher M. Cabrera

Journal of Japanese and Korean Cinema page： 1 - 16 2021.7

In/visibility in post-war Okinawan images 1

Ran Ma, Kosuke Fujiki

Journal of Japanese and Korean Cinema Vol. 13 ( 1 ) page： 1 - 3 2021.1

記憶と身体を乗り越える──東北ドキュメンタリー三部作とポスト・福島ドキュメンタリー Reviewed

Ma Ran

『〈ポスト 3.11〉メディア言説再考』 page： 283-302 2019.2

故郷的風景：高嶺剛的沖繩夢幻秀 International coauthorship

馬然

ACT: Art Critique of Taiwan/藝術觀點 Vol. Issue No. 78 page： 82 - 91 2019

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Papers - MA Ran