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“Cinema at the City’s Edge” is an international conference devoted to the
historically new urban spaces under construction in East Asia and their representation
in film and other media. As it investigates the ways that this transformation
of Asian cityscapes is visualized and mediated, the conference will
stage an interdisciplinary dialogue among scholars of cinema, architecture,
and urban studies, and it will place developments in the People’s Republic of China, Japan, Taiwan,
Hong Kong, and South Korea within a regional context.
Ackbar Abbas, Chair of Comparative Literature and Co-Director of the Center for the Study of Globalization and Cultures (CSGC), both at Hong Kong University.
Ackbar Abbas is author of Hong Kong: Culture and the Politics of Disappearance (University of Minnesota Press, 1997 and editor (with John Nguyet Erni) of Internationalizing Cultural Studies An Anthology (Blackwell, 2004). He has also published essays on modern Chinese painting, Baudrillard and Benjamin, film theory, and postmodernism. He writes and lectures frequently on contemporary East Asian urban culture
Dudley Andrew, Professor of Comparative Literature, Yale University.
Dudley Andrew’s areas of research include world cinema, aesthetics and hermeneutics, and French cinema and culture from the 1930s to today. He has published The Major Film Theories, Concepts of Film Theory, and André Bazin with Oxford University Press. Other books explore key films and filmmakers: Film in the Aura of Art, a source book on Mizoguchi, a presentation of Breathless, and a “BFI classic” on Mizoguchi’s Sansho Dayu. His recent book, Popular Front Paris and the Poetics of Culture (Harvard University Press, 2005), co-authored with Steven Ungar, joins his earlier and most ambitious work, Mists of Regret: Culture and Sensibility in Classic French Film (Princeton, 1995).
Chris Berry, Professor of Film and Television Studies, Goldsmith’s College, University of London
Chris Berry’s work centers on Chinese cinemas and extends to Chinese television, Chinese independent video documentary, Chinese new media, Korean cinema, and queer Asian cinema. His interests include cinema’s role in the production of national, transnational, and local cultures and identities, and the connection between cinematic forms and socio-political developments. He is author of Postsocialist Cinema in Post-Mao China: The Cultural Revolution after the Cultural Revolution (Routledge, 2004) and co-author (with Mary Farquhar) of Cinema and the National: China on Screen (Columbia University Press and Hong Kong University Press, 2005). He is also editor of several recent volumes on Chinese and East Asian cinema and cultural studies.
Robert Chi, Assistant Professor, Comparative Literary and Cultural Studies, SUNY Stonybrook.
Robert Chi’s research focuses on Chinese literature and cinema (including mainland China, Hong Kong, Taiwan, and the Chinese diaspora), memory, and publicness. His articles have appeared in Modern Chinese Literature and Culture, Tamkang Review, Wanxiang, Shu cheng, and elsewhere. He teaches on topics such as modern Chinese literature, Asian American literature, Hong Kong martial arts cinema, magical realism, imagetexts and visual culture, cinema and public memory, film theory, literary theory, and cultural studies.
Darrell William Davis, Professor of Theatre, Film, and Dance, University of New South Wales.
Darrell Davis’s books include Picturing Japaneseness: Monumental Style, National Identity, Japanese Film (Columbia University Press, 1995), a study of 1930s Japanese films and their propagandistic role in society. He recently co-published Taiwan Film Directors: A Treasure Island (Columbia, 2005), together with Emilie Yueh-yu Yeh. His research interests include Japanese film and literature, Asian film and its censorship, documentary and non-fiction film, theories of film history, Hollywood, and Hou Hsiao-hsien and Taiwan film history.
Kyung Hyun Kim, Associate Professor of East Asian Languages and Literature, University of California, Irvine.
Kyung Hyun Kim is author of The Remasculinization of Korean Cinema (Duke University Press, 2004). He is currently working on his second book on Korean cinema, tentatively entitled Cinema of the Cliché: Korean Cinema of the Blockbuster Era. He has edited and published collaborative anthologies on Korean cinema and Asian cinema, including the first book on Korean cinema published in the U.S, Im Kwon-Taek: the Making of Korean National Cinema (Wayne State University Press, 2001), co-edited with David E. James. (A Korean-language translation was published by Hanul in June 2005. He is also interested in Korean modernist literature of the 1930s and the 1960s
Susie Jie-Young Kim, Visiting Professor of Korean Cultural Studies, Duke University.
Susie Jie-Young Kim’s research interests include Korean print culture, Korean and East Asian cinema, the “new woman,” colonial modernity, and trauma and memory. Her recent publications include “What (not) to Wear: Re-fashioning Civilization in Print Media in Turn of the Century Korea” in positions: east asia cultures critique (forthcoming); “Sinsosol and the Emergence of ‘New Literature’: The Discourse of the New in the Great Han Empire,” in Reform Projects and Modernization during the Great Han Empire Period; and “Entering the Pale of Literary Translation,” in Poem Behind the Poem: Translating Asian Poetry. In 1999 she edited a special volume of Manoa on Korean literature.
Helen Hok-Sze Leung, Assistant Professor, Department of Women’s Studies, Simon Fraser University.
Helen Hok-Sze Leung teaches in the areas of gender studies, queer theory, feminist theory, cultural studies, film and literary studies. Her research interests include Asian cinemas; Chinese literature; Hong Kong cultural studies; queer politics; minority gender and sexual practices; nationalism and postcolonial issues. She is currently working on a book manuscript entitled Undercurrents: Queer Culture and Postcolonial Hong Kong.
Lin Wenchi, Assistant Professor of English and American Literature, Director of Film Study Center, National Central University, Taiwan.
Lin Wenchi’s research focuses on Taiwanese cinema, cultural theory, and the relationship between cinematic realism and postmodernism. He is the organizer of several international conferences and cultural exchanges dedicated to recent film in Taiwan.
Akira Mizuta Lippit, Professor of Critical Studies, School of Cinema-Television, and Professor of Comparative Literature and East Asian Languages and Cultures, University of Southern California.
Akira Mizuta Lippit’s teaching and research focus on four primary areas: the history and theory of cinema, world literature and critical theory, Japanese film and culture, and visual cultural studies. He is author of Atomic Light (Shadow Optics) (University of Minnesota Press, 2005) and Electric Animal: Toward a Rhetoric of Wildlife (Minnesota, 2000). He is presently finishing a book-length study of experimental film and video, and researching a book on contemporary Japanese cinema. His articles have appeared in Afterimage, Discourse, Film Quarterly, Modern Language Notes, and Qui Parle, among other journals; they have also appeared in national and international exhibition and museum catalogues, and in anthologies. His work has been translated in French, German, Italian, Japanese, and Korean. Since 1995, he has been a Visiting Professor of Humanities at Josai International University in Japan.
Michael Raine, Assistant Professor, Department of East Asian Languages and Civilizations, Committee on Cinema and Media Studies, University of Chicago.
Michael Raine has been working on the ways in which youth, body, and subjectivity (seishun, shintaisei, shutaisei) are articulated in the commercial Japanese cinema that produced the famous “Japanese New Wave” around 1960. More recently, his research has focused on Japanese Political Modernism—the theoretical and practical critique of existing forms of narrative cinema that characterized independent films of the late 1960s.
Wang Yiman, Global Studies Postdoctoral Fellow in the UCLA International Institute, Visiting Assistant Professor of East Asian Studies and Comparative Literature, Haverford College.
Wang Yiman received her Ph.D. in literature from Duke University in 2003. Her research and teaching interests include transnational/transregional Chinese cinemas, intra-Asian and cross-Pacific film remakes under globalization, nostalgia in post-1980s Chinese literature and culture, film adaptations of Chinese literature, pan-East Asian celebrity culture, East Asian cultural studies, and Asian American cinema. She has published numerous book chapters, articles, and reviews, and has translated books from Chinese into English and vice-versa. Recent projects examine the effects of independent (digital) documentary production in mainland China, as well as a “cultural politics of nostalgia” manifested in the literature, cinema, and mass media of post-socialist, postcolonial China.
Emilie Yueh-yu Yeh, Associate Director of the David Lam Institute for East-West Studies at Hong Kong Baptist University.
Emilie Yueh-yu Yeh is a scholar of Chinese language cinema and a specialist on Taiwan film directors. Her research spans television studies, film music, culture theory, and transnational media in the East Asian context. She is the co-author (with Darrell William Davis) of Taiwan Film Directors: A Treasure Island (Columbia University Press, 2005) and the co-editor of Chinese-language Film: Historiography, Poetics, Politics (University of Hawaii Press, 2005). She has also written Phantom of the Music: Song Narration and Chinese-language Cinema (Taipei: Yuan-liou Publishing Co., 2000). Her essays have appeared in Modern Chinese Literature and Culture, Historical Journal of Film, Radio and Television, Cinema Journal, Film Quarterly, and Post Script.
Zhang Zhen, Assistant Professor of Cinema Studies, New York University.
Zhang Zhen is author of An Amorous History of the Silver Screen: Shanghai Cinema 1896-1937 (University of Chicago Press, 2005) and editor of The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century (Duke University Press, 2004). She has published essays in Public Culture, Asian Cinema, Postscript, Camera Obscura, Parachute, Art China, and numerous anthologies, readers, and exhibition catalogues. She wrote the liner notes on Anna May Wong for Milestone's 2005 DVD of Piccadilly, and has published a collection of poems, Mengzhong Louge (Dream Loft).
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