“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, 2015)
“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): 109-121.
“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): 108-122.
“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, 2016.
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, 2009.
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, April 2006
“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, March 2003.