學程師資

簡介

國立臺灣大學中文系學士，英國劍橋大學東方學院碩士、博士。中學時代開始熟讀台灣現代文學作品，大學時代興趣轉向電影與文化研究。曾任教於英國和香港，研究興趣包括電影研究（台灣、跨國、世界）、文化研究、性／別研究、後殖民與離散研究等。中文著作包括兩本研究專書、兩本合編文集；最新出版品為《未來的光陰：給台灣新電影四十年的備忘錄》（台北市：害喜，2022；與孫松榮合編）》。

臺灣教育部玉山學者計畫之國際優秀人才（2023-2025），主持研究計畫「地緣政治與跨國電影──邁向新的電影地理學」，見計畫網頁：https://geocinema.tw/

榮 譽 獎 項 Honors and Awards

• 台灣教育部玉山學者計劃行政支援費補助學者 (2023-2025)
• 英國艾瑟特 (Exeter) 大學榮譽教授 (2020-2023)
• 香港中文大學文學院優良教學獎 (2019-2020)
• 香港中文大學傑出研究獎 (2016-2017)
• 香港「大學教育資助委員會研資局」優配研究金 (2015-2017)
• 英國 The Leverhulme Trust 國際網路資金 (2012-2014)

學 經 歷 Education and Academic Appointments

經歷

• 國立中興大學台灣文學與跨國文化研究所教授
• 香港中文大學文化及宗教研究系教授
• 英國艾瑟特 (Exeter) 大學英文與電影系高級講師
• 英國里茲 (Leeds) 大學東亞系講師
• 訪問學人機構包括：英國劍橋大學克萊爾書院 (Clare Hall)、德國柏林自由大學、新加坡國立大學亞洲研究中心、台灣中央研究院文哲所、台灣交通大學文化研究國際中心等
• 《Journal of Chinese Cinemas》創刊主編；擔任國際學術期刊編委會成員，包括 Studies in World Cinema: A Critical Journal、Transnational Screens等

• 英國劍橋大學東方學院博士 (Ph.D., Oriental Studies, University of Cambridge, UK)
• 英國劍橋大學東方學院碩士 (M.Phil., Oriental Studies, University of Cambridge, UK)
• 國立臺灣大學中文系學士 (B.A., Chinese Literature, National Taiwan University, Taiwan)

研 究 領 域 Areas of Specialization

• 電影研究（台灣、跨國、世界）Film and screen studies
• 文化研究 Cultural Studies
• 性／別研究 Gender and sexuality studies
• 後殖民與離散研究 Postcolonial and diaspora studies

近 期 著 作 Publications

(A) 個人專書 Single-authored monographs

• Taiwan Cinema as Soft Power: Authorship, Transnationality, Historiography. New York: Oxford University Press, 2022.
• Tsai Ming-liang and a Cinema of Slowness. Honolulu: University of Hawaii Press, 2014.
  • 中文版：《蔡明亮與緩慢電影》，臺北：臺大出版中心，2016. https://press.ntu.edu.tw/tw/publish/show.php?act=book&refer=ntup_book00879&search=蔡明亮與緩慢電影
• Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawaii Press, 2006.
  • 中文版：《膠卷同志：當代中華電影中之男同性戀再現》，香港：手民出版社，2021.  https://typesetter.hk/2021/11/08/celluloidcomrades/

• 《未來的光陰：給台灣新電影四十年的備忘錄》（與孫松榮合編），台北市：害喜，2022.    https://www.books.com.tw/products/0010927620
• The Chinese Cinema Book (with Julian Ward). London: BFI Publishing and New York: Bloomsbury, second edition, 2020.
• 《平行文本：文化研究的思想交鋒》（與張翠瑜合編），香港：香港中文大學文化及宗教研究系文化研究中心，2018.
• Remapping World Cinema: Identity, Culture and Politics in Film (with Stephanie Dennison). London and New York: Wallflower Press, 2006.

• (2024)〈另一種「另一種電影」：論楊德昌《獨立時代》的文藝腔與電影性〉(Another Kind of “Another Kind of Cinema”: On Speech Affectation and the Cinematic in Edward Yang’s A Confucian Confusion)，《現代美術學報》(Journal of Taipei Fine Art Museum)，第47期，頁10-46。網路版：https://map.tfam.museum/content/JO0047_01 
• (2019) “Citizen-to-citizen Connectivity and Soft Power: The Appropriation of Subcultures in ‘Little Freshness’ Across the Taiwan Strait”, China Information 33 (3): 294-310. (SSCI) DOI: 10.1177/0920203X18806418.
• (2019) “Concepts of Transnational Cinema Revisited.” Transnational Screens 10 (1): 1-12. DOI: 10.1080/25785273.2019.1602334.
  • Reprinted in Armida De La Garza, Ruth Doughty and Deborah Shaw (eds.), Transnational Screens: Expanding the Borders of Transnational Cinema. Abingdon, Oxon: Routledge, 2020, pp. 7-18.
• (2018) “Towards a Poor Cinema: Ubiquitous Trafficking and Poverty as Problematic in Midi Z’s Films”, Transnational Cinemas 9 (2): 131-146. DOI: 10.1080/20403526.2018.1454700
• (2017) “Walking in the City, Slowly: Spectacular Temporal Practices in Tsai Ming-liang’s ‘Slow Walk, Long March’ Series”, Screen 58 (2): 180-196. (A&HCI) DOI: 10.1093/screen/hjx015
  • 中文版：〈在城市裡「慢」走：「慢走長征系列」及奇觀式的時間實踐〉（蔡文晟譯），孫松榮、曾炫淳編，《蔡明亮的十三張臉：華語電影研究的當代面孔》，新竹市：國立交通大學出版社，2021，頁 344-374.
• (2016) “Domesticating Time: Gendered Temporalities in Hou Hsiao-hsien’s Café Lumière”, Frontiers of Literary Studies in China 10 (1): 36-57. DOI: 10.3868/s010-005-016-0003-4
• (2011) “Manufacturing Orgasm: Visuality, Aurality, and Female Sexual Pleasure in Tsai Ming-liang’s The Wayward Cloud”, Journal of Chinese Cinemas 5 (2): 141-155. DOI: 10.1386/jcc.5.2.141_1
• (2010) (with Will Higbee) “Concepts of Transnational Cinema: Towards a Critical Transnationalism in Film Studies”, Transnational Cinemas 1 (1): 7-21. DOI: 10.1386/trac.1.1.7/1
  • 中文版：〈跨國電影的概念：電影研究中的批判性跨國主義〉（楊佳凝、劉宇清譯），《中華文化與傳播研究》第九輯，2021，轉載於 https://mp.weixin.qq.com/s/hOIpL8pYnF139zRDdQ5q3w
• (2007) “Positioning Auteur Theory in Chinese Cinemas Studies: Intratextuality, Intertextuality and Paratextuality in the Films of Tsai Ming-liang”, Journal of Chinese Cinemas 1(3): 223-245.
• (2007) “Is the Trans- in Transnational the Trans- in Transgender?”, New Cinemas: Journal of Contemporary Film 5 (1): 39-52.
• (2002) “Contesting Celluloid Closets: The Politics of Representing Male Homosexuality in Chinese Cinemas”, Tamkang Review 33 (2): 55-75.
• (2002) “Celluloid Comrades: Male Homosexuality in Chinese Cinemas of the 1990s”, China Information 16 (1): 68-88.

• (2021) “Soft Power and Cinema: A Methodological Reflection and Some Chinese Inflections”, in Stephanie Dennison and Rachel Dwyer (eds.), Cinema and Soft Power: Configuring the National and Transnational in Geo-politics. Edinburgh: Edinburgh University Press, pp. 17-37.
• (2016) “Can Poetics Break Bricks?”, in Gary Bettinson and James Udden (eds.), The Poetics of Chinese Cinema. Basingstoke, Hampshire: Palgrave Macmillan, pp. 147-165.
• (2016) “Temporal Aesthetics of Drifting: Tsai Ming-liang and a Cinema of Slowness,” in Tiago de Luca and Nuno B. Jorge (eds.), Slow Cinema, Edinburgh: Edinburgh University Press, pp. 87-98.
• (2014) “The Voice of the Sinophone,” in Audrey Yue and Olivia Khoo (eds.), Sinophone Cinemas, Basingstoke, Hampshire: Palgrave Macmillan, pp. 62-76.
• (2013) “Taiwan New Cinema: Small Nation with Soft Power”, in Carlos Rojas and Eileen Cheng-yin Chow (eds.), The Oxford Handbook of Chinese Cinemas, New York: Oxford University Press, pp. 152-169.
• (2012) “Speaking in Tongues: Ang Lee, Accented Cinema, Hollywood”, in Lúcia Nagib, Chris Perriam, and Rajinder Dudrah (eds.), Theorizing World Cinema, London: I.B. Tauris, pp. 129-144.
  • Reprinted in Klaus Stierstorfer and Janet Wilson (eds.), The Routledge Diaspora Studies Reader, Abingdon, Oxon: Routledge, 2018, pp. 218-222.
• (2011) “Six Chinese Cinemas in Search of a Historiography”, in Song Hwee Lim and Julian Ward (eds.), The Chinese Cinema Book, London: BFI Publishing, and Basingstoke, Hampshire: Palgrave Macmillan, pp. 35-43.
  • Updated version in second edition. London: BFI Publishing and New York: Bloomsbury, 2020, pp. 42-51.
• (2011) “Transnational Trajectories in Contemporary East Asian Cinemas”, in Vivian P. Y.  Lee (ed.), East Asian Cinemas: Regional Flows and Global Transformations, Basingstoke, Hampshire: Palgrave Macmillan, pp. 15-32.
• (2009) “Queer Theory Goes to Taiwan”, in Noreen Giffney and Michael O’Rourke (eds.), The Ashgate Research Companion to Queer Theory, Aldershot: Ashgate, pp. 257-275.
• (2008) “15: The Singapore Failure Story, ‘Slanged Up’”, in Chris Berry (ed.), Chinese Films in Focus II, Basingstoke, Hampshire: Palgrave Macmillan, and London: BFI Publishing, pp. 9-16.
  • 中文版：〈《15》：「向上裝俚扮俗」的新加坡失敗故事〉（陳佳琦譯），《電影欣賞學刊》8 (2)，2011，頁 62-69.
• (2008) “How to be Queer in Taiwan: Translation, Appropriation and the Construction of a Queer Identity in Taiwan”, in Fran Martin, Peter A. Jackson, Mark McLelland, and Audrey Yue (eds.), AsiaPacifiQueer: Rethinking Genders and Sexualities, Urbana and Chicago: University of Illinois Press, pp. 235-250.
• (2007) “Queering Chineseness: Searching for Roots and the Politics of Shame in (Post)Colonial Singapore”, in Edwin Jurriens and Jeroen de Kloet (eds.), Cosmopatriots: On Distant Belongings and Close Encounters, Amsterdam and New York: Rodopi, pp. 75-92.
• (2006) (with Stephanie Dennison) “Introduction: Situating World Cinema as a Theoretical Problem”, in Stephanie Dennison and Song Hwee Lim (eds.), Remapping World Cinema: Identity, Culture and Politics in Film, London and New York: Wallflower Press, pp. 1-15.
• (2006) 〈漂泊流離的同志漫遊者：論王家衛《春光乍洩》中的九七／回歸陰影〉，宋耕編，《全球化與「中國性」：當代文化的後殖民解讀》，香港：香港大學出版社，頁203-212.
• (2006) 〈翻譯酷兒：九零年代以來台灣對酷兒話語的引介與實踐〉，熊賢關 編，《性別與疆界》，新加坡：新加坡南洋理工大學與八方文化，頁73-94.

教 學 課 程 Courses Taught

• 亞洲電影
• 台灣與亞洲電影研究
• 世界文學
• 當代理論與文學批評
• 同志電影
• 台灣電影

研 究 計 畫 Research Projects

(A) 主導研究計畫 Research Projects as Principal Investigator:

• (2023-2025) 「地緣政治與跨國電影──邁向新的電影地理學」（台灣教育部玉山學者計劃行政支援費補助學者研究計劃）
• (2015-2017) “After Taiwan New Cinema: Authorship, Transnationality, Historiography” (Research Grants Council, University Grants Committee, Hong Kong)
• (2012-2014) “Chinese Cinemas in the 21^st Century: Production, Consumption, Imagination” (International Network Grant, The Leverhulme Trust, UK)

• (since 2021) Overseas Collaborator, Asian Cinema Research Lab, Lingnan University, Hong Kong
• (2019-2024) International Advisory Board Member, Consolidator Grant for Project on “African Screen Worlds: Decolonising Film and Screen Studies” (funded by the European Research Council)
• (2016-2018) Steering Committee Member, International Network Project on “Soft Power, Cinema and the BRICS” (funded by the Arts and Humanities Research Council, UK)