This course focuses on Chinese Film History, including Mainland, Hong Kong and Taiwan. It introduces some of the key film genres and places these films in the context of the social, political, economic, and cultural transformations which they both reflect and critique.
Prerequisites:
Third-year or higher level of Chinese required
Additional student cost:
None
Attendance policy:
There will be NO unexcused absence during the term. Any unexcused absence will result in your grade being lowered a half-grade (i.e. from a B+ to a B) Proper Documentation MUST be provided for all absences.
Learning outcomes:
By the end of the course students will be able to:
• Analyze films within the context of Chinese cinema
• Demonstrate an understanding of the history of contemporary Chinese film.
• Compare different genres of Chinese cinema, be able to articulate key differences in films between the PRC, Taiwan, and Hong Kong.
• Contextualize films within the framework of modern Chinese history, being able to integrate key works of cinema with notable events in Chinese history.
Method of presentation:
Class discussions, oral reports by students, viewings of film clips. There are both written and oral assignments. Students are required to view one film a week outside of class, along with supplementary readings, as part of their class preparation.
Required work and form of assessment:
Your performance will be assessed based upon your level of class participation (20%), as well as your performance on the midterm exam (20%) and the final exam (20%). You will also be graded on assignments which will test your ability to analyze the films under discussion in the context of the history of Chinese cinema (20%) and on a final oral report (done in Chinese) in which you demonstrate your ability to evaluate a set genre of Chinese cinema and articulate how key films belong to this genre and their importance in defining the history of this genre.
content:
Part I : Mainland Film
Weeks 1 to 6: Overview of Chinese Mainland films and introduction to methods
Introduction of vocabulary and key concepts in film studies, building foundation for film studies in the
Chinese language through the viewing of short clips followed by discussion and analysis of features such as sound, lighting, style, etc. Learn how to “read” Chinese Mainland films. Overview of the cultural and historical issues essential to the periods of Chinese Mainland film covered in this course. Students view representative clips of the key periods of film to be studied, in order to begin to identify stylistic features, themes and icons essential to understanding the true meaning of the films.
Week 1:
The History and the appreciation of Chinese Film
The Birth of Chinese Film（the first movie “Dingjun Mountain” before 1949）
The Stage of Chinese Film
How to appreciate Chinese Film
Movie Review: “Laborer's Love” （《劳工之爱情》）and “ Shadow Magic”《西洋镜》
Week 2:
Chinese Film and Society, Politics & Culture
1) 1905-1949
2) 1950s－1960s
3) Cultural Revolution era
4) 1980s
5) 1990s
6) 2000s
Movie Review: e Revi5) 1990sof A Republicc《建国大业》
Homework：review the key terms
Week 3:
Chinese “Scar” Films , Director Xie Jin and Director Zhang Yimou
1) Xie Jin’s position in the Chinese Film history
2) “Scar” Films and Xie Jin’s Film style
3） Zhang Yimou’s Films
Movie Review: “To Live” （《活着》）
Week 4:
Analysis and Discussion of “To Live” （《活着》）
the Growth of the fifth Generation Film
1） the Growth of the fifth Generation Film
2） Chen Kaige’s Films
Movie Review: “Farewell My Concubine”（《霸王别姬》）
Recommended Movies: “Yellow Earth” (《黄土地》)
Week 5:
Quiz on Chinese Mainland Film
Blockbuster and the Status Quo of Chinese Film
1）Blockbuster
2) the Status Quo of Chinese Film
Movie Review: “Hero”（《英雄》）or “The Promise” (《无极》)
Recommended Movies: Curse of the Golden Flower （《满城尽带黄金甲》）
Week 6:
New Generation Film
1） the Growth of the New Generation Film
2） Zhang Yan’s film and Jia Zhangke’s Film
Movie Review: “Shower” （《洗澡》）or “In the Heart of the Sun”（《阳光灿烂的日子》）
Recommended Movie: “Still Life”（《三峡好人》）
Part II : Hong Kong Film
Weeks 7 to 9: Overview of Hong Kong films and introduction to methods
Learn how to “read” Hong Kong films. Overview of the cultural and historical issues essential to the periods of Hong Kong film covered in this course. Students view representative clips of the key periods of
film to be studied, in order to begin to identify stylistic features, themes and icons essential to understanding the true meaning of the films.
Week 7:
Midterm exam
Hong Kong Film and Society, Politics & Culture
1) The Birth of Hong Kong Film（the first movie “Zhuangzi Tests His Wife”(《庄子试妻>) before
1949）
2) The Stage of Hong Kong Film
1950s－1960s
middle of 1960s－1970s
1980s－1997 after 1997
Movie Review: “Drunken Master” （《醉拳》） Recommended Movie: “Fist of Fury” （《精武门》） Homework：review the key terms
Week 8:
Analysis and Discussion of “Drunken Master” （《醉拳》）
Master Wong Fei Hung Films and Jackie Chan’s Film, Tsui Hark’s Film
1) The Birth of Huang Feihong Films
2) Jackie Chan’s Film
3) Tsui Hark’s Film
Movie Review: “A Better Tomorrow” (《英雄本色》)
Recommended Movies: “Once upon a time in China” （《黄飞鸿》）
Week 9:
Analysis and Discussion of “A Better Tomorrow” (《英雄本色》)
John Woo’s Film and Stephen Chow’s Film
1) John Woo’s Film
2) Stephen Chow’s Film
Movie Review: “ Kung Fu Hustle” （《功夫》）
Recommended Movies: “A Chinese Odyssey: Part I and Part II” （《西游记 101 回之月光宝盒》和《西 游记 101 回之仙履奇缘》，统称《大话西游》）
Part III : Taiwan Film
Weeks 10 to 11: Overview of Taiwan films and introduction to methods
Learn how to “read” Taiwan films. Overview of the cultural and historical issues essential to the periods of Taiwan film covered in this course. Students view representative clips of the key periods of
film to be studied, in order to begin to identify stylistic features, themes and icons essential to understanding the true meaning of the films.
Week 10:
Taiwan Film and Society, Politics & Culture
1) The Birth of Taiwan Film
2) The Stage of Taiwan Film
1950s－1960s
1970s
1980s
since 1990s
Movie Review: “Cape No.7 ” （《海角七号》）
Homework：review the key terms
Week 11:
Analysis and Discussion of “Cape No.7 ” （《海角七号》）
Ang Lee’s Film and Taiwan New Generation Film
1） Ang Lee’s Film
2） New Generation Film
Movie Review:“ Eat Drink Man Woman.” （《饮食男女》）
Recommended Movies:” Pushing Hands”(《推手》 )
Week 12:
Final exam and presentation due week 12
Required readings:
Browne, Nick, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau, eds. New Chinese Cinemas: Forms, Identities, Politics. “Spatiality and Subjectivity in Xie Jin’s Film Melodrama of the New Period.” Cambridge: Cambridge University Press, 1996, pp. 15-39.
Kuoshu, Harry H. “Beijing Bastards, the Sixth Generation Directors, and ‘Generation-X’ in China”. Asian Cinema, Spring/Summer 1999, 1999, pp. 1-7.
Laikwan, Pang. “From Gender to Nation: Farewell My Concubine, Farewell To Arts: Allegory Goes to the Movies.” New Perspectives: A Comparative Literature Yearbook, Vol. 2, pp. 107-129. Department of Comparative Literature, Hong Kong University, 1996.
Lu, Sheldon Hsiao-Peng. Transnational Chinese Cinemas: Identity, Nationhood, Gender. “Historical
Introduction: Chinese Cinemas （1896-1996） and Transnational Film Studies,” pp. 1-31, and
“National Cinema, Cultural Critique, Transnational Capital: The Films of Zhang Yimou,” pp. 105-
136. University of Hawaii Press, 1997.
Zhang, Xudong. "Building on the Ruins: The Exploration of the New Urban Cinema of the 1990s” and “Generation Politics: What is the Fifth Generation?” Chinese Modernism in the Era of Reform: Cultural Fever, Avant-Garde Fiction, and the New Chinese Cinema, pp. 215-231. Durham: Duke University Press, 1997.
Sam Ho. Through Thick and Thin:The Ever-changing Tsui Hark and the Hong Kong Cinema.”The
Swordman and his Jiang Hu:Tsui Hark and Hong Kong Film= 剑啸江湖：徐克与香港电影”, pp. 22-22.
Hong Kong: Hong Kong Film Archive, 2002.
Robert K. Elder. John Woo’s A Better Tomorrow,”John Woo : interviews“.. pp. 59-72. Jackson : University
Press of Mississippi, 2005.
Linda Sunshine.Hong Kong Martial Arts Cinema,”Crouching Tiger, Hidden Dragon : portrait of the Ang
Lee” . pp. 12-21.New York : Newmarket Press, 2000.
Recommended readings:
Berry, Chris, ed. Perspectives on Chinese Cinema. Enlarged and revised ed. London: British Film
Institute, 1991.
Chen, Kaige, and Tony Rayns. King of the Children and New Chinese Cinema. London: Faber and Faber,
1989.
Chow, Ray. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema.
New York: Columbia University Press, 1995.
Lee, Gregory B. Troubadours, Trumpeters, Troubled Makers. Durham: Duke University Press, 1996. Monaco, James. How to Read a Film: The Art, Technology, Language, History, and Theory of Film and
Media. New York: Oxford University Press, 1981.
Rayns, Tony. “Nights at the Opera.” Sight and Sound 2, no. 8 （1993）: pp. 10-13.
Semsel, George S., Chen Xihe, and Xia Hong, eds. Film in Contemporary China: Critical Debates, 1979-
1989. Westport, Conn.: Praeger, 1993.
Tan, Ye. “From the Fifth to the Sixth Generation: An Interview with Zhang Yimou.” Film Quarterly Vol.
53, no. 2, Winter 1999-2000: pp. 2-13.
Teng, Jimeng. “Foreign Literatures and Films: An Interview with Cheng Kaige.” Foreign Literatures. No. 2
（1996）: pp. 52-57.
Tyler, Patrick E. “In China, Letting a Hundred Films Wither.” New York Times, December 1, 1996, Hi, H26.
Wang, Ban. The Sublime Figure of History: Aesthetics and Politics in Twentieth-Century China. Stanford: Stanford University Press, 1997.
Yang, Mayfair. “Of Gender, State Censorship, and Overseas Capital: An Interview with Director Zhang
Yimou.” Public Culture 5, no. 2 （1993）.
Meaghan Morris, Siu Leung Li, and Stephen Chan Ching-kiu. Hong Kong connections : transnational imagination in action cinema.Durham : Duke University Press ; Hong Kong : Hong Kong University Press. 2005.
Emilie Yueh-yu Yeh, Darrell William Davis. Taiwan film directors : a treasure island.New York : Columbia
University Press, 2005.
Other Resources:
REQUIRED FILMS
“Laborer's Love” （《劳工之爱情》）
Shadow Magic《西洋镜》
“西洋镜》w Magicove” A Republicc《建国大业》
To Live （《活着》）
“Farewell My Concubine”（《霸王别姬》）
Hero （《英雄》） Shower （《洗澡》） Drunken Master（《醉拳》）
A Better Tomorrow (《英雄本色》) Kung Fu Hustle（《功夫》）
“Cape No.7 ” （《海角七号》）
Eat Drink Man Woman（《饮食男女》）
OPTIONAL/RECOMMENDED MOVIES
Yellow Earth (《黄土地》)
The Promise (《无极》)
Curse of the Golden Flower（《满城尽带黄金甲》）
Still Life （《三峡好人》）
In the Heart of the Sun （《阳光灿烂的日子》）
Fist of Fury” （《精武门》）
Once upon a time in China（《黄飞鸿》）
A Chinese Odyssey: Part I and Part II” （《西游记 101 回之月光宝盒》《仙履奇缘》，统称《大话西游》
）Pushing Hands(《推手》 )
Brief Biography of Instructor:
Zhang Yan is an associate professor in the Art and Communication College, Beijing Normal University (BNU). She graduated from the Department of Arts, BNU in 1998 and was awarded MA degree and Ph. D degree in Film Studies from BNU in 2001 and 2008. Since 2007, she has been the Secretary-General for the Advisory Committee of Drama, Broadcast, Film & TV Education at the Chinese Ministry of Education. Her teaching and research interests include the History of Chinese Film, Film Theory, Hong Kong & Taiwan Film, Asia Film. She has published several books, including most recently Narration and Audience Research between Korean & Chinese Film (2008), Mirror image: The Legend of Hong Kong Film
(2006). Her works have appeared in the journals Contemporary Cinema, Modern Communication, Film
Art, among others. Between 2005 and 2008,she completed the Youth Fund Project “Comparing Research on the Industrialization of Chinese and Korean Film," sponsored by Chinese Ministry of Education. In
2007 she worked on a project researching narration and audience in Korean & Chinese film on a grant from the Korean Film Council.
This course focuses on Chinese Film History, including Mainland, Hong Kong and Taiwan. It introduces some of the key film genres and places these films in the context of the social, political, economic, and cultural transformations which they both reflect and critique.
Third-year or higher level of Chinese required
None
There will be NO unexcused absence during the term. Any unexcused absence will result in your grade being lowered a half-grade (i.e. from a B+ to a B) Proper Documentation MUST be provided for all absences.
By the end of the course students will be able to:
• Analyze films within the context of Chinese cinema
• Demonstrate an understanding of the history of contemporary Chinese film.
• Compare different genres of Chinese cinema, be able to articulate key differences in films between the PRC, Taiwan, and Hong Kong.
• Contextualize films within the framework of modern Chinese history, being able to integrate key works of cinema with notable events in Chinese history.
Class discussions, oral reports by students, viewings of film clips. There are both written and oral assignments. Students are required to view one film a week outside of class, along with supplementary readings, as part of their class preparation.
Your performance will be assessed based upon your level of class participation (20%), as well as your performance on the midterm exam (20%) and the final exam (20%). You will also be graded on assignments which will test your ability to analyze the films under discussion in the context of the history of Chinese cinema (20%) and on a final oral report (done in Chinese) in which you demonstrate your ability to evaluate a set genre of Chinese cinema and articulate how key films belong to this genre and their importance in defining the history of this genre.
Part I : Mainland Film
Weeks 1 to 6: Overview of Chinese Mainland films and introduction to methods
Introduction of vocabulary and key concepts in film studies, building foundation for film studies in the
Chinese language through the viewing of short clips followed by discussion and analysis of features such as sound, lighting, style, etc. Learn how to “read” Chinese Mainland films. Overview of the cultural and historical issues essential to the periods of Chinese Mainland film covered in this course. Students view representative clips of the key periods of film to be studied, in order to begin to identify stylistic features, themes and icons essential to understanding the true meaning of the films.
Week 1:
The History and the appreciation of Chinese Film
The Birth of Chinese Film（the first movie “Dingjun Mountain” before 1949）
The Stage of Chinese Film
How to appreciate Chinese Film
Movie Review: “Laborer's Love” （《劳工之爱情》）and “ Shadow Magic”《西洋镜》
Week 2:
Chinese Film and Society, Politics & Culture
1) 1905-1949
2) 1950s－1960s
3) Cultural Revolution era
4) 1980s
5) 1990s
6) 2000s
Movie Review: e Revi5) 1990sof A Republicc《建国大业》
Homework：review the key terms
Week 3:
Chinese “Scar” Films , Director Xie Jin and Director Zhang Yimou
1) Xie Jin’s position in the Chinese Film history
2) “Scar” Films and Xie Jin’s Film style
3） Zhang Yimou’s Films
Movie Review: “To Live” （《活着》）
Week 4:
Analysis and Discussion of “To Live” （《活着》）
the Growth of the fifth Generation Film
1） the Growth of the fifth Generation Film
2） Chen Kaige’s Films
Movie Review: “Farewell My Concubine”（《霸王别姬》）
Recommended Movies: “Yellow Earth” (《黄土地》)
Week 5:
Quiz on Chinese Mainland Film
Blockbuster and the Status Quo of Chinese Film
1）Blockbuster
2) the Status Quo of Chinese Film
Movie Review: “Hero”（《英雄》）or “The Promise” (《无极》)
Recommended Movies: Curse of the Golden Flower （《满城尽带黄金甲》）
Week 6:
New Generation Film
1） the Growth of the New Generation Film
2） Zhang Yan’s film and Jia Zhangke’s Film
Movie Review: “Shower” （《洗澡》）or “In the Heart of the Sun”（《阳光灿烂的日子》）
Recommended Movie: “Still Life”（《三峡好人》）
Part II : Hong Kong Film
Weeks 7 to 9: Overview of Hong Kong films and introduction to methods
Learn how to “read” Hong Kong films. Overview of the cultural and historical issues essential to the periods of Hong Kong film covered in this course. Students view representative clips of the key periods of
film to be studied, in order to begin to identify stylistic features, themes and icons essential to understanding the true meaning of the films.
Week 7:
Midterm exam
Hong Kong Film and Society, Politics & Culture
1) The Birth of Hong Kong Film（the first movie “Zhuangzi Tests His Wife”(《庄子试妻>) before
1949）
2) The Stage of Hong Kong Film
1950s－1960s
middle of 1960s－1970s
1980s－1997 after 1997
Movie Review: “Drunken Master” （《醉拳》） Recommended Movie: “Fist of Fury” （《精武门》） Homework：review the key terms
Week 8:
Analysis and Discussion of “Drunken Master” （《醉拳》）
Master Wong Fei Hung Films and Jackie Chan’s Film, Tsui Hark’s Film
1) The Birth of Huang Feihong Films
2) Jackie Chan’s Film
3) Tsui Hark’s Film
Movie Review: “A Better Tomorrow” (《英雄本色》)
Recommended Movies: “Once upon a time in China” （《黄飞鸿》）
Week 9:
Analysis and Discussion of “A Better Tomorrow” (《英雄本色》)
John Woo’s Film and Stephen Chow’s Film
1) John Woo’s Film
2) Stephen Chow’s Film
Movie Review: “ Kung Fu Hustle” （《功夫》）
Recommended Movies: “A Chinese Odyssey: Part I and Part II” （《西游记 101 回之月光宝盒》和《西 游记 101 回之仙履奇缘》，统称《大话西游》）
Part III : Taiwan Film
Weeks 10 to 11: Overview of Taiwan films and introduction to methods
Learn how to “read” Taiwan films. Overview of the cultural and historical issues essential to the periods of Taiwan film covered in this course. Students view representative clips of the key periods of
film to be studied, in order to begin to identify stylistic features, themes and icons essential to understanding the true meaning of the films.
Week 10:
Taiwan Film and Society, Politics & Culture
1) The Birth of Taiwan Film
2) The Stage of Taiwan Film
1950s－1960s
1970s
1980s
since 1990s
Movie Review: “Cape No.7 ” （《海角七号》）
Homework：review the key terms
Week 11:
Analysis and Discussion of “Cape No.7 ” （《海角七号》）
Ang Lee’s Film and Taiwan New Generation Film
1） Ang Lee’s Film
2） New Generation Film
Movie Review:“ Eat Drink Man Woman.” （《饮食男女》）
Recommended Movies:” Pushing Hands”(《推手》 )
Week 12:
Final exam and presentation due week 12
Browne, Nick, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau, eds. New Chinese Cinemas: Forms, Identities, Politics. “Spatiality and Subjectivity in Xie Jin’s Film Melodrama of the New Period.” Cambridge: Cambridge University Press, 1996, pp. 15-39.
Kuoshu, Harry H. “Beijing Bastards, the Sixth Generation Directors, and ‘Generation-X’ in China”. Asian Cinema, Spring/Summer 1999, 1999, pp. 1-7.
Laikwan, Pang. “From Gender to Nation: Farewell My Concubine, Farewell To Arts: Allegory Goes to the Movies.” New Perspectives: A Comparative Literature Yearbook, Vol. 2, pp. 107-129. Department of Comparative Literature, Hong Kong University, 1996.
Lu, Sheldon Hsiao-Peng. Transnational Chinese Cinemas: Identity, Nationhood, Gender. “Historical
Introduction: Chinese Cinemas （1896-1996） and Transnational Film Studies,” pp. 1-31, and
“National Cinema, Cultural Critique, Transnational Capital: The Films of Zhang Yimou,” pp. 105-
136. University of Hawaii Press, 1997.
Zhang, Xudong. "Building on the Ruins: The Exploration of the New Urban Cinema of the 1990s” and “Generation Politics: What is the Fifth Generation?” Chinese Modernism in the Era of Reform: Cultural Fever, Avant-Garde Fiction, and the New Chinese Cinema, pp. 215-231. Durham: Duke University Press, 1997.
Sam Ho. Through Thick and Thin:The Ever-changing Tsui Hark and the Hong Kong Cinema.”The
Swordman and his Jiang Hu:Tsui Hark and Hong Kong Film= 剑啸江湖：徐克与香港电影”, pp. 22-22.
Hong Kong: Hong Kong Film Archive, 2002.
Robert K. Elder. John Woo’s A Better Tomorrow,”John Woo : interviews“.. pp. 59-72. Jackson : University
Press of Mississippi, 2005.
Linda Sunshine.Hong Kong Martial Arts Cinema,”Crouching Tiger, Hidden Dragon : portrait of the Ang
Lee” . pp. 12-21.New York : Newmarket Press, 2000.
Berry, Chris, ed. Perspectives on Chinese Cinema. Enlarged and revised ed. London: British Film
Institute, 1991.
Chen, Kaige, and Tony Rayns. King of the Children and New Chinese Cinema. London: Faber and Faber,
1989.
Chow, Ray. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema.
New York: Columbia University Press, 1995.
Lee, Gregory B. Troubadours, Trumpeters, Troubled Makers. Durham: Duke University Press, 1996. Monaco, James. How to Read a Film: The Art, Technology, Language, History, and Theory of Film and
Media. New York: Oxford University Press, 1981.
Rayns, Tony. “Nights at the Opera.” Sight and Sound 2, no. 8 （1993）: pp. 10-13.
Semsel, George S., Chen Xihe, and Xia Hong, eds. Film in Contemporary China: Critical Debates, 1979-
1989. Westport, Conn.: Praeger, 1993.
Tan, Ye. “From the Fifth to the Sixth Generation: An Interview with Zhang Yimou.” Film Quarterly Vol.
53, no. 2, Winter 1999-2000: pp. 2-13.
Teng, Jimeng. “Foreign Literatures and Films: An Interview with Cheng Kaige.” Foreign Literatures. No. 2
（1996）: pp. 52-57.
Tyler, Patrick E. “In China, Letting a Hundred Films Wither.” New York Times, December 1, 1996, Hi, H26.
Wang, Ban. The Sublime Figure of History: Aesthetics and Politics in Twentieth-Century China. Stanford: Stanford University Press, 1997.
Yang, Mayfair. “Of Gender, State Censorship, and Overseas Capital: An Interview with Director Zhang
Yimou.” Public Culture 5, no. 2 （1993）.
Meaghan Morris, Siu Leung Li, and Stephen Chan Ching-kiu. Hong Kong connections : transnational imagination in action cinema.Durham : Duke University Press ; Hong Kong : Hong Kong University Press. 2005.
Emilie Yueh-yu Yeh, Darrell William Davis. Taiwan film directors : a treasure island.New York : Columbia
University Press, 2005.
REQUIRED FILMS
“Laborer's Love” （《劳工之爱情》）
Shadow Magic《西洋镜》
“西洋镜》w Magicove” A Republicc《建国大业》
To Live （《活着》）
“Farewell My Concubine”（《霸王别姬》）
Hero （《英雄》） Shower （《洗澡》） Drunken Master（《醉拳》）
A Better Tomorrow (《英雄本色》) Kung Fu Hustle（《功夫》）
“Cape No.7 ” （《海角七号》）
Eat Drink Man Woman（《饮食男女》）
OPTIONAL/RECOMMENDED MOVIES
Yellow Earth (《黄土地》)
The Promise (《无极》)
Curse of the Golden Flower（《满城尽带黄金甲》）
Still Life （《三峡好人》）
In the Heart of the Sun （《阳光灿烂的日子》）
Fist of Fury” （《精武门》）
Once upon a time in China（《黄飞鸿》）
A Chinese Odyssey: Part I and Part II” （《西游记 101 回之月光宝盒》《仙履奇缘》，统称《大话西游》
）Pushing Hands(《推手》 )
Zhang Yan is an associate professor in the Art and Communication College, Beijing Normal University (BNU). She graduated from the Department of Arts, BNU in 1998 and was awarded MA degree and Ph. D degree in Film Studies from BNU in 2001 and 2008. Since 2007, she has been the Secretary-General for the Advisory Committee of Drama, Broadcast, Film & TV Education at the Chinese Ministry of Education. Her teaching and research interests include the History of Chinese Film, Film Theory, Hong Kong & Taiwan Film, Asia Film. She has published several books, including most recently Narration and Audience Research between Korean & Chinese Film (2008), Mirror image: The Legend of Hong Kong Film
(2006). Her works have appeared in the journals Contemporary Cinema, Modern Communication, Film
Art, among others. Between 2005 and 2008,she completed the Youth Fund Project “Comparing Research on the Industrialization of Chinese and Korean Film," sponsored by Chinese Ministry of Education. In
2007 she worked on a project researching narration and audience in Korean & Chinese film on a grant from the Korean Film Council.