2009年11月11日 星期三

Prof. Sheldon Lu(UC Davis, USA) 華語電影研究的批評譜系:民族電影、華語電影、跨國電影、華語語系電影 (Critical Genealogies in Chinese Film Studies)

Prof. Sheldon Lu(UC Davis, USA) 華語電影研究的批評譜系:民族電影、華語電影、跨國電影、華語語系電影 (Critical Genealogies in Chinese Film Studies)

講者名稱:
Sheldon Lu

講者簡歷:
Sheldon Hsiao-peng Lu has been Professor of Comparative Literature at the University of California, Davis since 2002. He is also affiliated with Film Studies (founding co-director), East Asian Studies, Cultural Studies, Critical Theory, and Performance Studies at the University of California at Davis. He received his Ph. D. in Comparative Literature from Indiana University at Bloomington, and previously taught at the University of Pittsburgh for ten years. He was a Fulbright Scholar in Kiev, Ukraine in 2004-2005. He is the author of Chinese Modernity and Global Biopolitics: Studies in Literature and Visual Culture (Hawaii, 2007); Culture, Mirror Image, Poetics (in Chinese, Wenhua, jingxiang, shixue, 2002); China, Transnational Visuality, Global Postmodernity (Stanford, 2001); From Historicity to Fictionality: The Chinese Poetics of Narrative (Stanford, 1994; Korean edition, 2001). He is editor of Transnational Chinese Cinemas: Identity, Nationhood, Gender (Hawaii, 1997); co-editor of Chinese-Language Film: Historiography, Poetics, Politics (Hawaii, 2005, Choice’s Award of Outstanding Academic Title of 2005); co-editor of Chinese Ecocinema in the Age of Environmental Challenge (Hong Kong University Press, 2009). He has published numerous critical essays in such journals as New Literary History, Modern Language Quarterly (MLQ), boundary 2, Semiotica, Cinema Journal, Jump Cut, Post Script, Asian Cinema, positions, CLEAR (Chinese Literature: Essays, Articles, Reviews), and Journal of Modern Literature in Chinese.

活動摘要:
本次演講旨在梳理當前海外(歐美)的華語電影整體研究中的幾個主要模式:“民族電影“,“華語電影”,“跨國電影”、“華語語系電影”。演講將分析和比較這幾種模式∕話語的起源、形成、歷史、優劣、及內涵。同時演講人要探討在全球化時代華語電影研究中所涉及的中華性、族群、民族國家、散居等概念。

Reading List

Berry, Chris, and Mary Farquhar. “From National Cinemas to Cinema and the National: Rethinking the National in Transnational Chinese Cinemas.” Journal of Modern Literature in Chinese 4.2 (2001): 109-122.

Berry, and Farquhar. China on Screen: Cinema and Nation. New York: Columbia University Press, 2006. Especially “Introduction: Cinema and the National,” pp, 1-16; Chapter 8, “The National in the Transnational,” pp. 195-222.

Berry, Chris, and Laikwan Pang. “Introduction, or, What’s in an ‘s’?” Journal of Chinese Cinemas vol. 2 no. 1 (2008): 3-8.

Browne, Nick. “Introduction.” New Chinese Cinemas: Forms, Identities, Politics. Ed. Nick Browne, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau. Cambridge, UK; New York, USA: Cambridge University Press, 1994. 1-11.

Chiu, Kuei-fen, “Empire of the Chinese Sign: The Question of Chinese Diasporic Imagination in Transnational Literary Production.”

Journal of Asian Studies vol. 67, No. 2 (May 2008): 593-620. Journal of Chinese Cinemas. Vol. 2, no. 1 (2008). A special issue on “transnational Chinese cinemas.” Guest ed. Chris Berry and Laikwan Pang.

Lim, Song Hwee. “Introduction,” Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawaii Press, 2006. 1-18.

-----. Editorial: “A New Beginning: Possible Directions in Chinese Cinemas Studies.” Journal of Chinese Cinemas vol. 1 no. 1 (2007): 3-8.

Lu, Sheldon H. “Historical Introduction: Chinese Cinemas (1896-1996) and Transnational Film Studies.” Transnational Chinese Cinemas: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997. 1-31.

-----. “Dialect and Modernity in 21st Century Sinophone Cinema.” Jump Cut 49 (Spring 2007). Online journal.

-----. Review of Visuality and Identity: Sinophone Articulations Across the Pacific (Berkeley: University of California Press, 2007) by Shu-mei Shih. MCLC Resource Center Publication (January 2008). Website: htt://mclc.osu.edu/re/pubs/reviews/lu.htm.

Lu, Sheldon H., and Emilie Yueh-yu Yeh. “Introduction: Centennial Reflections on Chinese-Language Cinemas.” Chinese Cinema, ed. Lu and Yeh, a special double issue, Post Script vol. 20 nos. 2 & 3 (winter/spring & summer 2001): 3-8.

Lu and Yeh. “Introduction: Mapping the Field of Chinese-Language Cinema,” Chinese-Language Film: Historiography, Poetics, Politics. Ed. Sheldon H. Lu and Emilie Yueh-yu Yeh. Honolulu: University of Hawaii Press, 2005. 1-24.

Marchetti, Gina. “Introduction: Plural and Transnational.” Jump Cut 42 (1998): 68-72. (Introduction to a special section on Chinese and Chinese Diaspora Cinema of Jump Cut.)

Shih, Shu-mei. Visuality and Identity: Sinophone Articulations Across the Pacific. Berkeley: University of California Press, 2007.

Yeh, Yue-yu. “Defining ‘Chinese.’” Jump Cut 42 (1998): 73-76. Review of New Chinese Cinemas: Forms, Identities, Politics. Ed. Nick Browne, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau. Cambridge and New York: Cambridge University Press, 1994.

Zhang, Yingjin. Chinese National Cinema. New York and London: Routledge, 2004. Especially “Introduction: National Cinema and China,” pp. 1-12.

-----. “Comparative Film Studies, Transnational Film Studies: Interdisciplinarity, Crossmediality, and Transcultural Visuality in Chinese Cinema.” Journal of Chinese Cinemas vol. 1 no. 1 (2007): 27-40.
活動時間:
星期三, 十一月 11, 2009 - 10:00 to 12:00
活動地點:
綜合教學大樓9樓904室
主辦單位 | 國立中興大學人文與社會科學研究中心