Associate Professorkennykkng@hkbu.edu.hk
34118233
Education:
PhD in East Asian Languages & Civilizations, Harvard University
Area of Interests:
Film Censorship / Film as Cultural Heritage / Visual and Urban Culture / Literature and Film Adaptation / Historical Imagination and Cultural Geography / Critical Theory and Aesthetics
Major Highlights:
| 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” | |
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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” |
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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
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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”. |
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: Michigan University Press, 2018), 156–76. |
| forthcoming | “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 (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, eds. Ariana Serban and Kelly Chan, under review by J. Benjamins). |
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) |
| forthcoming | “The World Garden City in the New Millennium: Chengdu at the Crossroads of Verbal Representation and Global Vision.” Accepted by the selection committee for the intended book publication project, “Urban Knowledge Network Asia” (UKNA)”: “Ideas of the City” by the University of Amsterdam 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