“Bogie Noir: Casablanca and The Maltese
Falcon,” Critical Insights: Casablanca, ed. James Plath (Ipswich,
Massachusetts: Salem Press, 2016).
“Painted Skin: Romance with the Ghostly Femme Fatale in
Contemporary Chinese Cinema,” Cinematic Ghosts: Haunting and Spectrality
from Silent Cinema to the Digital Era (New York: Bloomsbury Academic,
“Adaptation as an Open Process: Dahua Fandom and the
Reception of A Chinese Odyssey,” Adaptation 6.2 (2013): 187-201.
“Ghostly Vengeance, Historical Trauma: The Lonely Ghost in
the Dark Mansion (1989),” Journal of Chinese Cinemas 7.2 (2013):
"So Close to Paradise (1999) and The Missing
Gun (2002): Hollywood Models and the Production of Film Noir in Chinese
Cinema at the Turn of the Twenty-first Century," Journal of
American-East Asian Relations Vol. 20, Issue 1 (2013): 48-67.
“Living for the City: Cinematic Imaginary of the Cityscape in
China’s Transnational Films,” Critical Arts: a Journal of South-North
Cultural and Media Studies, 25. 1 (2011): 102-117.
“The Road to the Past: Socialist Nostalgia in
Postsocialist China,” Visual Anthropology Vol. 22 (March-June 2009):
“Horror Returns to Chinese Cinema: an Aesthetic of
Restraint and the Space of Horror,” Jump Cut: A Review of Contemporary
Media No. 51 (Spring 2009).
“From ‘centripetal’ to ‘Centrifugal’ Trauma: History and
Representation in Modern China,” Jump Cut: A Review of Contemporary
Media No. 51 (Spring 2009).
“Global Imagery, Local Desire: Chinese Transnational Serial
Drama in the 1990s,” TV Drama in China: Unfolding Narratives of Tradition,
Political Transformation, and Cosmopolitan Identity, eds. Zhu, Y., Keane,
M. & Bai, R. (Hong Kong University Press, 2008).
“Searching for Taiwanese Identity: Reading June
Yip’s Envisioning Taiwan,” Jump Cut: A Review of Contemporary Media,
No. 49 (April 2007).
“Vernacular Modernism and its application in Chinese
cinema studies,” Film Art, Vol. 309, No. 4 (June 2006).
“Transnational Advertisement of
McDonald’s in China,” Open Times, Vol. 171, No. 3 (June 2004):11-18.
“Deconstruction and Re-identification in Postcolonial
Context: Reading Wide Sargasso Sea,” Journal of Sichuan International
Studies University, Vol. 17, No. 5 (December 2001): 26-30.
“Modernism and Chinese Modernist Literature,” New
Perspective: Contemporary Literary & Cultural Studies, eds. Mao, S. &
Fang, K. (Guangzhou: South China University Press, 2000).
“Probe into the Conclusion of The Mill on the
Floss,” Journal of Sichuan International Studies University, No. 3
(September 1999): 24-29.
“New Aesthetics in Fantasy Wuxia Films:
Immobilizing the Warrior in A Performative Digital Space,” Research Institute
for Digital Culture and Humanities, Hong Kong Open University, July 4-6, 2016.
“Coming of Age Stories in Asian Cinema,” guest
speaker at “Growing up Asian: Coming of Age in Asian and Asian-American
Films: A seminar for 5th-12th grade and community college”, University of
Illinois Center for East Asian and Pacific Studies, September 30-October 1,
Guest speaker at “Terrorism on Screen” Film Series, Department
of Languages, Literatures and Cultures, Illinois State University (SU),
September 1-4, 2016.
“The Transmedia Journey of China’s The Storm Riders,” Conference
The Fantastic in a Transmedia Era: New Theories, Texts, Contexts, South Denmark
University, November 24-25, 2015.
“From Demon to Amorous Phantom: A Chinese Ghost Horror and
its Spectacular Transformation,” Society for Cinema and Media
Studies (SCMS), Montreal, March 23-27, 2015.
“The Ambiguity of ‘Truth’ in the Documentaries of Jia
Zhangke,” SCMS, Seattle, March 19-23, 2014.
“Special Effects in the Martial Arts Cinema: The Misplaced
Spectacle in Tsui Harks’ Zu Warriors,” The Magic of Special Effects:
Cinema-Technology-Reception Conference, Montreal, November 6-10, 2013.
“Lonely Places in Chinese Noir: So Close to
Paradise (1999), Suzhou River (2000), and The Missing
Gun (2002),” SCMS, Boston, March 21-25, 2012.
“From Borderland to Homeland: Searching for Taiwanese Identity
in Hou Hsiao-Hsien’s A Time to Live, A Time to Die,” at the Joint
Conference of Central Connecticut State University and the Literature/Film
Association, New Britain, CT, October 12-14, 2011.
“The Stephen Chow Phenomenon: Fan Culture on Chinese
Campus,” Association for Asian Studies Annual Conference, Honolulu, March
31-April 3, 2011. (Panel Chair)
“The Daughter’s Revenge, the Return of
Historical Trauma: Chinese Gothic Horror The Lonely Ghost in the Dark
Mansion (1989),” SCMS, Los Angeles, March 18, 2010.
Guest Speaker at the “Contemporary Chinese Documentary
Films” exhibition, at Joliet Junior College, IL, March 26, 2009.
“Horror Returns: Censorship, Aesthetics and the Space of Horror
in Contemporary Chinese Cinema,” Colloquium on Visual Culture, ISU, October 21,
Round Table Discussion on Television Historiography. Chicago
Film Seminar, Chicago, November 6, 2008.
“The Immediate Remembrance of the Cultural Revolution: Official
History, Cinematic Imagination, and Gendered Trauma,” Guest Speaker,
Chicago Film Seminar, March 15, 2007.
“From Trauma to Nostalgia: Remembering or Forgetting the
Cultural Revolution,” Cultural Memory Conference, University of Kent, UK,
September 10-12, 2008.
“Who Makes the Sixth-generation Cinema in China?: A
Bourdieuian perspective,” SCMS, Chicago, March 2007 (panel chair)
“Old Photos and the Popular Memory of the Cultural
Revolution,” Association of Asian Studies Annual Conference, San Francisco,
“Da Hua Fan Culture and Stephen Chow’s Chinese
Odyssey,” SCMS Annual Conference, Vancouver, March 2006 (panel co-chair)
“Chinese Transnational Soap Opera,” SCMS, London, March 2005.
“Diaspora or Exile: Hou Hsiao-Hsian’s Time to Live, Time to
Die,” Spring Symposium of Screen Culture, Northwestern University, April 2005.
“Trauma and Nostalgia in China in the 1990s,” Colloquium of
Screen Culture, Northwestern University, October 2004.
“Modern Architecture in Hollywood Cinema in the 1930s,” Midwest
Conference on Language, Literature, and Media, Northern Illinois University,