
Associate Professor
kennykkng@hkbu.edu.hk
34118233
2019 | Humanities and Social Sciences Prestigious Fellowship Scheme (HSSPFS), “The Cultural Cold War and Contested Chineseness in Hong Kong Cinema” |
“Looking through My Fly’s-Eye View: Chan Tze-woon’s Documentary of the 2014 Umbrella Movement,” Ex-position, no. 42 (Dec 2019): 89–117. | |
“The Eternal Return of Mythology: The White (Green) Snake Legend in Maoist China and Colonial Hong Kong,” in Kwai-Cheung Lo and Jessica Yeung (eds.),Chinese Shock of the Anthropocene: Image, Music and Text in the Age of Climate Change (Singapore: Palgrave Macmillan, 2019), 83–107. | |
2018 | General Research Fund (GRF), “Cold War Cosmopolitanism: Chang Kuo-sin’s Asia Enterprises and Cultural Legacies” |
“The Way of The Platinum Dragon: Xue Juexian and the Sound of Politics in 1930s Cantonese Cinema,” in Emilie Y.Y. Yeh (ed.), Kaleidoscopic Histories: Early Film Culture in Hong Kong, Taiwan and Republican China (Ann Arbor: Michigan University Press, 2018), 156–76. | |
2017 | General Research Fund (GRF), “The Sound of Politics: Cantophone Cinema in 1930s-1960s” |
Hong Kong Arts Development Council Grant, “Colonial Film Censorship: Chinese Politics in Hong Kong Cinema” | |
Book-in-Progress 1: Hong Kong Independent Cinema (co-authored) |
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“Censorship at Work: Cold War Paranoia and Purgation of Chinese Ghost Stories,” in Yiu-wai Chu (ed.), Hong Kong Culture and Society in the New Millennium: Hong Kong as Method (Singapore: Springer, 2017), 111–128. |
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“The Resurrection of Female Ghosts from Classical Chinese Opera and the Hollywood Tradition in Cantonese Cinema,” in Vincent Durand-Dastès and Marie Laureillard (eds.), Fantômes dans l’Extrême-Orient d’hier et d’aujourd’hui (Ghosts in the Far East in the Past and Present) (Paris: les Presses de l’Inalco, 2017), 421–43. |
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2016 | “Ending as Beginning: Chinese Translation of Edward Bellamy’s Utopian Novel Looking Backward: 2000–1887,” Frontiers of Literary Studies in China 10.1 (Apr. 2016): 9–35. |
2015 | The Lost Geopoetic Horizon of Li Jieren: The Crisis of Writing Chengdu in Revolutionary China (Leiden: Brill, 2015) |
2014 | General Research Fund (GRF), “Colonial Censorship and the Cultural Politics of Hong Kong Cinema in the Cold War” |
Creative Drama Script of “Sketches of 1967” for Pants Theater Production at Sheung Wan Cultural Center (Black Box Theater, November 14–23. |
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2008 | “Inhibition vs. Exhibition: Political Censorship of Chinese and Foreign Cinemas in Postwar Hong Kong,” Journal of Chinese Cinemas, 2.1 (2008): 23–35. |
Webpage for Dr. Ng: https://hkbu.academia.edu/KennyNg
Education
June 2004 | Harvard University, East Asian Languages & Civilizations |
Summer 1999 | Cornell University, School of Criticism and Theory |
1999 | University of Washington, Seattle, Doctoral Program, Comparative Literature |
1996 | Hong Kong University of Science & Technology, M.Phil in Humanities |
1991 | Chinese University of Hong Kong, B.A., English Literature |
Courses Taught
Undergraduate Courses
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Postgraduate Courses
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Projects and Grants
09/2006 - 10/2009 |
RGC Competitive Earmarked Research Grant, $110,000 “Localism, nation building, and fictional writing: A study of Li Jieren and the modern Chinese historical novel”. |
01/2014 - 12/2016 |
RGC’s General Research Fund (GRF),HKD497,500 “Colonial Censorship and the Cultural Politics of Hong Kong Cinema in the Cold War” (PI). |
01/2017 - 06/2020 |
RGC’s General Research Fund (GRF), HKD278,500 “The Sound of Politics: Cantophone Cinema in 1930s-1960s” (PI). |
06/2017 - 08/2018 |
Hong Kong Arts Development Council Grant for Publication, HKD55,000 “Colonial Film Censorship: Chinese Politics in Hong Kong Cinema”. |
08/2018 - 01/2019 |
HKBU FRG I, $50,000 “Chinese Cultural Politics in Hong Kong Cinema: Rewriting Colonial Film History from Archival Perspectives” |
07/2018 – 06/2020 |
HKBU FRG II, $130,000 “Chang Kuo-sin’s Asia Enterprises and Cold War Cultural Legacies” |
01/2020 – 12/2020 |
RGC’s General Research Fund (HSSPFS), HKD448,000 “The Cultural Cold War and Contested Chineseness in Hong Kong Cinema” |
01/2019 – 12/2021 |
RGC’s General Research Fund (GRF), HKD590,000 “Cold War Cosmopolitanism: Chang Kuo-sin’s Asia Enterprises and Cultural Legacies” |
Book Publication
The Lost Geopoetic Horizon of Li Jieren: The Crisis of Writing Chengdu in Revolutionary China (Leiden: Brill, 2015). |
Book-in-Progress
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Book Projects
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Articles (Cinema and Visual Culture)
2007 | “The Romantic Comedies of Cathay/MP&GI in the 1950s and 60s: Language, Locality, and Urban Character.” Jump Cut: A Review of Contemporary Media No. 49 (Spring 2007). |
“Yuyan, diyu, diyuan zhengzhi: ershi shiji wuliushi niandai Guotai/Dianmou de dushi xiju” 語言、地域、地緣政治:二十世紀五六十年代國泰/電懋的都市喜劇 [Language, region, and geopolitics: the urban comedy of Cathay/MP&GI in the 1950s and 60s], in Jiang Jin (ed.), Dushi wenhua zhong de xiandai Zhongguo 都市文化中的現代中國 [Modern China in metropolitan culture]. Shanghai: Huadong shifan daxue, 2007, 305-322. (Chinese) | |
2008 | “Inhibition vs. Exhibition: Political Censorship of Chinese and Foreign Cinemas in Postwar Hong Kong,” Journal of Chinese Cinemas, 2.1 (2008): 23-35. |
“The Screenwriter as Cultural Broker: Travels of Zhang Ailing’s Comedy of Love,” Modern Chinese Literature and Culture, 20.2 (Fall 2008): 131-184. | |
2009 | “Lengzhan shiqi xianggang dianying de zhengzhi shencha” 冷戰時期香港電影的政治審查 [Political censorship of Hong Kong cinema in the Cold War period], in Wong Ain-ling and Lee Pui-tak (eds.), Lengzhan yu Xianggang dianying 冷戰與香港電影 [Cold war and Hong Kong cinema]. Hong Kong: Hong Kong Film Archive, 2009, 53-69. |
“Xianggang dianying bansheng yuan: Zhang Ailing de xiju xiangxiang” 香港電影半生緣:張愛玲的喜劇想像 [Hong Kong cinema in her later life: Zhang Ailing’s Comic Imagination], in Chen Zishan and Luo Gang (eds.), Congdu Zhang Ailing 重讀張愛玲 [Rereading Zhang Ailing]. Shanghai: Shanghai shudian, 2009, 296-315. | |
“Romantic Comedies of Cathay-MP&GI in the 1950s and 60s: Language, Locality, and Urban Character,” trans. & reprint as “Yuyan, diyu, diyuan zhengzhi: shilun wu liushi niandai Guotai/Dianmou de dushi xiju” (語言、地域、地緣政治:試論五、六十年代國泰/電懋的都市喜劇), in《電影欣賞學刊》 (Film Appreciation Academic Journal), no.140 (July-Sep 2009): 96-112. | |
2011 | “Critical Sentimentalism: A Preliminary Inquiry into Union Film’s Recreation of Western Literary Classics,” in Grace Ng (ed.), One for All: The Union Film Spirit. Hong Kong: Hong Kong Film Archive, 2011, 86-97. |
〈以影犯禁: 冷戰, 瘟疫, 諜戰〉(Image Surveillance: Cold War, The Plague, and Spy War),《中國文學學報》no. 2. (Dec 2011):313-26。 | |
2014 | 〈六七「暴動」與香港的電影文化〉,沈旭輝[編]:《1967:國際視野的反思》。香港:天地圖書,2014,156-97. |
2016 | 〈戰後香港粵語片的左翼烏托邦:以中聯改編文學名著為例〉,《當代電影》,no.7 (July 2016) |
2017 | “The Resurrection of Female Ghosts from Classical Chinese Opera and the Hollywood Tradition in Cantonese Cinema,” in Vincent Durand-Dastès and Marie Laureillard (eds.), Fantômes dans l’Extrême-Orient d’hier et d’aujourd’hui –Tome 1 (Ghosts in the Far East in the Past and Present) (Paris: Les Presses de l’Inalco, 2017), 421 –43. Web. <http://books.openedition.org/pressesinalco/1706>. |
“Censorship at Work: Cold War Paranoia and Purgation of Chinese Ghost Stories,” in Yiu-wai Chu (ed.), Hong Kong Culture and Society in the New Millennium: Hong Kong as Method (Singapore: Springer, 2017), 111–128. | |
2018 | “The Way of The Platinum Dragon: Xue Juexian and the Sound of Politics in 1930s Cantonese Cinema,” in Emilie Y.Y. Yeh (ed.), Kaleidoscopic Histories: Early Film Culture in Hong Kong, Taiwan and Republican China (Ann Arbor: University of Michigan Press, forthcoming in 2018), 156–76. |
“Colonial Censorship and the Cultural Politics of Chinese-language Cinemas in the Cold War,” in Gina Marchetti et al (eds.), Palgrave Handbook on Asian Cinema (New York: Palgrave Macmillan, 2018), 307–27. ISBN : 1349958212 | |
2019 | “The Eternal Return of Mythology: The White (Green) Snake Legend in Maoist China and Colonial Hong Kong,” in Kwai-Cheung Lo and Jessica Yeung (eds.), Chinese Shock of the Anthropocene: Image, Music and Text in the Age of Climate Change (Singapore: Palgrave Macmillan, 2019), 83–107. |
“Long Live The Platinum Dragon: Xue Juexian and the Politics of Sound and Dialect in Early Cantonese Cinema” [永續 “白金龍”:薛覺先與早期粵語電影的方言及聲音政治], Journal of Beijing Film Academy, no. 7 (2019): 24–32. | |
“The Archeology of ‘Brainwashing’: Trafficking of an Idea and a Hong Kong-produced Story” [“洗腦” 考掘學:一個香港製造和觀念販運的故事], in Yiu-wai Chu (ed.), Hong Kong Keywords: Imagine the New Future [香港關鍵詞: 想像新未來] (Hong Kong: The Chinese University of Hong Kong, 2019), 157–70. | |
“Love in the Time of Chaos: Southbound Literatus Yi Wen and His Romantic Love Fiction and Film [安於亂世,兒女情長:南來文人易文的言情小說與電影], O-square, no. 1 (2019): 192–215. | |
“Hong Kong Independent Cinema in the Post-Handover Era,” Special Topic (Guest Editor), Ex-position, no. 42 (Dec 2019). | |
“Looking through My Fly’s-Eye View: Chan Tze-woon’s Documentary of the 2014 Umbrella Movement,” Ex-position, no. 42 (Dec 2019): 89–117. | |
“A Tale of Two Cities in Cold War Hong Kong and Singapore: The Story Paper and Liu Yichang’s Singapore Story” [香港新加坡冷戰文化雙城記: “小說報” 與劉以鬯的 “星嘉坡故事” in Ji Jin and Der-wei Wang (eds.), Humanist Vision in Cosmopolitanism [世界主義的人文視景] (Zhenjiang: Jiangsu University Press), 247–57. | |
2020 | “Cold War Culture, Chinese Ghost, and Hong Kong Allegory” [冷戰文化與香港中國鬼魅寓言], in Shuk-han Wong (ed.), Hong Kong 1960s [香港.1960年代] (Taipei: Wenhsun, 2020), 121–48. |
forthcoming | “When Mei Lanfang Encountered Fei Mu: Chinese Operatic Cinema and Cinematic Memory” (accepted for the intended publication of Opera and Translation: Eastern and Western Perspectives, edited by Ariana Serban and Kelly Chan, published by J. Benjamins) |
“‘Brainwashing’: Cultural Smuggling of a Cold War Lexicon in Asia (via Hong Kong)” | |
“Soft-boiled Anti-Communist Romance at the Crossroads of Hong Kong, China, and Southeast Asia: The Story Paper and Liu Yichang’s Singapore Story” (Chineseness and the Cold War: Contested Cultures in East and Southeast Asia, edited by Jeremy Tambling and Lanjun Xu, published by Hong Kong University Press.) |
Articles (Literary and Cultural Studies)
1997 | “Allegorical Interpretation: Red Sorghum by Mo Yan,” Tamkang Review 27.3 (Spring 1997): 343-382. |
1998 | “Metafiction, Cannibalism, and Political Allegory: Wineland by Mo Yan,” Journal of Modern Literature in Chinese 1.2 (February 1998): 121-148. |
“Critical Realism and Peasant Ideology: The Garlic Ballads by Mo Yan,” Chinese Culture 39.1 (April 1998): 109-146. | |
2008 | 李劼人「大河小說」中的地緣詩學與歷史想像 [Geopoetics and historical imagination in Li Jieren’s format of the roman fleuve], in Fan Shanbiao, et al (eds.),墨痕深處:文學、歷史、記憶論集 [Collected essays in literature, history, and memory]. Hong Kong: Oxford University Press, 2008, 329-349. |
2009 | “Temporality and Polyphony in Li Jieren’s The Great Wave,” in Tao Dongfeng (ed.), Chinese Revolution and Chinese Literature. Middlesex, UK: Cambridge Scholars Publishing, 2009, 197-224. |
2010 | “The Last Epic Storyteller and his Fictional Rewriting in People’s Republic of China,” in Nikita Basov and Georg F. Simet (eds.), The Intellectual: a Phenomenon in Multidimensional Perspectives. Oxfordshire: Inter-Disciplinary Press, 2010, 137-144. |
2011 | 〈李劼人小說《大波》中的時間性和複調性〉,《李劼人研究, 2011》,成都:四川文藝出版社,2011,67-88。 |
2012 | “From Global Colonialism to Global Coloniality,” Localities, vol. 2 (Nov. 2012): 355-59. |
2015 | 〈大鳥吃小蠅—地方記憶及對李劼人《暴風雨前》的另類讀法〉,《現代中文學刊》(上海) (Journal of Modern Chinese Studies), no. 34 (2015): 78-90. |
2016 | “Ending as Beginning: Chinese Translation of Edward Bellamy’s Utopian Novel Looking Backward: 2000–1887,” Frontiers of Literary Studies in China (FLSC) 10.1 (Apr. 2016): 9–35. |
“The Long and the Short: Generic Contestations and Fictional Boundaries in May Fourth,” Chinese Literature: Essays, Articles, Reviews 38 (2016): 107–30 | |
2017 | “The Migrant Voice: Writing Diaspora between Sinophone and Anglophone Scripts” (accepted and revised for Journal of Modern Literature in Chinese) |
2018 | “The Road to Perdition: Li Jieren’s 1950s Rewriting of the 1911 Revolution in Sichuan” [到地獄之路—李劼人20世紀50年代對四川辛亥革命的改寫], Modern Chinese Culture and Literature, no. 3 (2018): 218–33. |
2019 | “Li Jieren’s Fiction and Ripples on Dead Water,” in Mingdong Gu (ed.), Routledge Handbook of Modern Chinese Literature (New York: Routledge, 2019), 72–83. |
“A World Garden City in the New Millennium: Chengdu at the Crossroads of Verbal Representation and Global Vision,” in Henco Bekkering, Adèle Esposito, and Charles Goldblum (eds.), Ideas of the City in Asian Settings (Amsterdam: Amsterdam University Press, 2019), 209–44. | |
forthcoming | “Theory and Practice of the Long Novel: Mao Dun’s Midnight and Representational Problems between Fiction, Locality, and Modernity,” being reviewed by Prism: Theory and Modern Chinese Literature |
“The Museum as Expression of Local Identity and Place: The Case of Nanjing,” in submission to Carol Ludwig and Yiwen Wang (eds.), Reclaiming Identity And (Re)Materialising Pasts: Approaches To Heritage Conservation In China, Amsterdam University Press. |
Articles-in-Progress
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Creative Work
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Articles in Conferences (Selected)
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Academic Reviewer
Film Appreciation Journal, Journal of Chinese Cinemas, Journal of Modern Chinese Literature, Frontiers of Literary Studies in China, PMLA, The Rocky Mountain Review & E-Review, Asian Cinema, The China Review, Journal of Language, Literature and Culture, American Quarterly, American Historical Journal, Modern Chinese Literature and Culture, Palgrave Macmillan. |
Invited Lectures and Public Talks
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Community Service (Public Writing, Community Engagement)
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More Details: https://hkbu.academia.edu/KennyNg