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Dr. NG Kwok Kwan, Kenny

Dr. NG Kwok Kwan, Kenny
Associate Professor

kennykkng@hkbu.edu.hk
34118233
Education: 
PhD in East Asian Languages & Civilizations, Harvard University

Area of Interests: 
Film Censorship / Historical Imagination and Cultural Geography / Transnational Cinema and Visual Culture / Comparative Literary and Visual Studies / Urban Culture and Globalization / Cultural Memory and Heritage / Critical Theory and Aesthetics

Major Highlights: 
2020 “Screening  without  China: Transregional   Cinematic   Smuggling   between Cold  War  Taiwan  and  Colonial  Hong  Kong.” Journal of the European Association for Chinese Studies, vol. 1 (2020): 161–188.
“When Mei Lanfang Encountered Fei Mu: Adaptation as Intersemiotic Translation in Early Chinese Opera Film.” In Opera and Translation: Unity and Diversity, edited by Ariana Serban and Kelly Chan, 75–94. Amsterdam: John Benjamins, 2020.
“The Museum as Expression of Local Identity and Place: The Case of Nanjing,” in Carol Ludwig, Linda Walton, and Yi-Wen Wang, eds., The Heritage Turn in China: The Reinvention, Dissemination and Consumption of Heritage (Amsterdam: Amsterdam University Press, 2020), 191–212. 
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)
Book-in-Progress 2:  Chinese Cultural Politics in Cold War Hong Kong Cinema 

“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.

“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.
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.
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

  • China in Film
  • Film and the City
  • Hong Kong Cinema
  • Western Short Stories
  • Readings in Cultural Theory
  • Film Art and Cinema Culture
  • Photography and Visual Culture
  • Texts in Chinese Art and Culture
  • Literary Classics in Visual Culture
  • Cultural Contacts in Global Context
  • Verbal and Visual Representation of China
  • Globalization, Literature and Modern Culture

Postgraduate Courses

  • Historical Imagination: Literature, Film, and Culture
  • Theory and Practice in Film Studies
  • Film Theories and Methodologies

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).
Indiescape Hong Kong: Critical Interviews and Essays [香港獨立電影圖景: 訪問評論集], co-authored with Enoch Tam and Vivian Lee. Hong Kong: Typesetter Publishing, 2018.

Book-in-Progress

  • 《以影犯禁: 香港電影的中國政治》, in preparation of MS.

Book Projects

  • “The Cultural Cold War and Contested Chineseness in Hong Kong Cinema”
  • “A Critical History of Cantophone Cinema”

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.
“Remaking China: The Canonization of Fei Mu’s Cinema,” in Kelly Kar Yue Chan, and Chi Sum Garfield Lau, eds., Chinese Culture in the 21st Century and Its Global Dimensions:  Comparative and Interdisciplinary Perspectives (Singapore: Springer Singapore Pte., 2020), pp. 63–79.
“Dialect, Sound, and Politics: Xue Juexian and Cantonese Film The Platinum Dragon” [方言、聲音與政治: 薛覺先與粵語電影], in Su Tao, and Poshek Fu (eds.), Currents and Counter-currents: Rewriting Hong Kong Film Historiography [順流與逆流：重寫香港電影史] (Beijing: Beijing daxue chubanshe, 2020), 15–34. 
“Leftwing Utopianism in Postwar Hong Kong Cantonese Cinema: On Union Film’s Adaptation of Literary Classics” [戰後香港粵語片的左翼烏托邦：以中聯改編文學名著為例], in Su Tao, and Poshek Fu (eds.), Currents and Counter-currents: Rewriting Hong Kong Film Historiography [順流與逆流：重寫香港電影史] (Beijing: Beijing daxue chubanshe, 2020), 98–118.
“Hong Kong 1941: Cinematic Memories of an Occupied City and Regional Politics,” in Ching-ling Kwok, and Ha-pak Wong (eds.), A Different Brilliance—The D & B Story (Hong Kong: Hong Kong Film Archive, 2020), 189–203.  
“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], in David Wang Der-wei, Ji Jin, and Liu Jianme (eds.), Three Humanist Perspectives in the Contemporary Era: Chih-tsing, Leo Lee Ou-fan, and Liu Zaifu [當代人文的三個方向：夏志清、李歐梵、劉再復] (Hong Kong: Sanlian, 2020), 379–93.  
“When Mei Lanfang Encountered Fei Mu: Adaptation as Intersemiotic Translation in Early Chinese Opera Film.” In Opera and Translation: Unity and Diversity, edited by Ariana Serban and Kelly Chan, 75–94. Amsterdam: John Benjamins, 2020.
“Screening  without  China: Transregional   Cinematic   Smuggling   between Cold  War  Taiwan  and  Colonial  Hong  Kong.” Journal of the European Association for Chinese Studies, vol. 1 (2020): 161–188.
forthcoming “Soft-boiled Anti-Communist Romance at the Crossroads of Hong Kong, China, and Southeast Asia: The Story Paper and Liu Yichang’s Singapore Story,” in 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.  
“From Gone with the Wind to A Spring River Flows East: Melodrama and Historical Imagination in Postwar Chinese Cinema,” in Chinese Cinema: Identity, Power, and Globalization, edited by Jeff Kyong-McClain, Jing Jing Chang and Russell Meeuf, published by Hong Kong University Press.  

In preparation

“Cosmopolitanism from Below: Union Film’s Adaptation of World Classics,” in submission to Modern Chinese Literature and Culture 
“The Goddess: Visual Spectacle and Symbolic Narrative in Chinese Silent Cinema,” in submission to Framework: The Journal of Cinema and Media
“‘Brainwashing’: Cultural Smuggling of a Cold War Lexicon in Asia (via Hong Kong),” in submission to Journal Cold War Studies
“Invasion, Takeover, and Disappearance: Post-Cold War Fear in Hong Kong SAR Sci-fi Film,” in The Routledge Handbook to Alternative Futurisms, edited by Grace Dillon, Isiah Lavender III, Taryne Jade Taylor, and Bodhisattva Chattopadhyay.

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 Ziye 子夜 (Midnight) and Representational Problems between Fiction, Locality, and Modernity,” Prism 17.2 (Oct 2020): 326–352. 
“The Museum as Expression of Local Identity and Place: The Case of Nanjing,” in Carol Ludwig, Linda Walton, and Yi-Wen Wang, eds., The Heritage Turn in China: The Reinvention, Dissemination and Consumption of Heritage (Amsterdam: Amsterdam University Press, 2020), 191–212. 

Articles-in-Progress

  • “A (Male) Lover's Tears: Critical Sentimentalism in 1950s Cantonese Cinema”
  • 〈安東尼奧尼遇上中國: 新現實主義影像於文革時代的命運〉
  • 〈「洗腦」考掘學：一個香港製造和觀念販運的故事〉，朱耀偉 ed.《香港關鍵詞2017》
  • “Romantic Love, Self-Exaltation, and Social Rebellion: The Influence of Goethe’s Werther on Chinese Epistolary Novels in the 1920s and 1930s,” in Intertextual Intersections in the East-West Exchange: Chinese Culture from the Classics to the Contemporary, edited by Kelly Kar Yue Chan and Chi Sum Garfield Lau, published by Springer Nature in Singapore.  

Creative Work

  • 編劇：《巴士奇遇記》，為《十一騷動：1967的短句零章》短劇之一，一條褲(Pants Production)製作， Nov 14–23, 2014，香港話劇團黑盒劇場。

Articles in Conferences (Selected)

  • “Restoring China: Uses of the Past in Fei Mu’s Operatic Cinema”
  • “Resurrection and Reincarnation: Tang Disheng and Rewriting Cantonese Opera Film in 1950s Hong Kong”
  • “Depraved Officialdom: Literary Adaptation of Let the Bullets Fly”
  • “An Abusive Tongue: When Cantophone Cinema Dares to Provoke”
  • “Brainwashing”: Cultural Smuggling of a Cold War Lexicon in Asia (via Hong Kong)”
  • “Cold War Cosmopolitanism: Chang Kuo-sin and His Fiction Enterprises”
  • “New School Martial Arts Fiction in Colonial Hong Kong: Trans-border Imagination and Cultural Politics”
  • “The Fear of Disappearance: Reading Ye Si with HKSAR Photography and Cinema”
  • “Living Corpse and Hopping Vampire: Cold War Monstrous Imagination in Hong Kong”

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

  • “Riot, Refugee, Fire: The Borderscape of Hong Kong 1950s,” Institute of Asian Research & Hong Kong Studies Initiatives, University of British Columbia, Vancouver, 4 October 2019. 
  • “How the Lion Rock Was Tempered: Early RTHK Dramas, Social Bonding, and Post-1967-Crisis Governance,” keynote speech, Fall Symposium on Digital Scholarship 2020, HKBU, October 20, 2020. 
  • “Critics’ Choice—The Future is Now: Alphaville,” curator and speaker in post-screening seminars, 31/10/2020 at Hong Kong Film Archive, 28/11/2020 at iSQUARE Emperor Cinemas
  • “Humanism and Cantonese Cinema,” Guest Lecture for ARTS6000/CULS6070: “RECONNECTIONS: China across Humanities: The May Fourth New Culture Movement and Its Legacy” (Instructors: Leo Ou-fan LEE and Likkwan CHEUNG), CUHK, Feb. 15, 2019.
  • “May Fourth Fiction Criticism and Film Adaptation,” Guest Lecture for ARTS6000/CULS6070: “RECONNECTIONS: China across Humanities: The May Fourth New Culture Movement and Its Legacy” (Instructors: Leo Ou-fan LEE and Likkwan CHEUNG), CUHK, Jan. 25, 2019.
  • “Literary Heritage and A World Garden City in Global Vision: Where Should Chengdu Go?” Forum on Community Arts and Heritage Preservation, CUHK, Apr. 9, 2016.
  • “Place of Memory: Li Jieren and Chengdu.” Guest Lecture for CHES5147 “Modern Chinese Literature” (Coordinator: Laura Pozzi), Jan. 27, 2016.
  • “Memory and Place.” Guest Lecture for ARTS6000/CULS6070 “RECONNECTIONS: China across Humanities” (Instructors: Leo LEE and Likkwan CHEUNG), Oct. 16, 2015.
  • Post-Performance Talk, Drama Performance: “Yellow Face,” Pants Productions, City Hall Theater, Jan. 22, 2016.
  • Post-Performance Talk, Drama Performance: “Sketches of 1967,” Pants Productions, Sheung Wan Cultural Center (Black Box Theater), Nov 21 & 22, 2014.
  • Post-Performance Talk, Drama Performance on Tian Han, Pants Productions, Hong Kong Cultural Center, May 17, 2013.
  • Public Humanities Lecture, “Tradition and Renaissance: Phantoms of the Chinese Cinema,” Hong Kong History Museum, September 29, 2013.
  • Post-Performance Talk, “Enron” (Drama), Pants Productions, Shatin Town Hall, Oct 20, 2012.
  • Café Salon, “Hong Kong Ghost Movies,” Hong Kong Film Critics Society, Aug. 2, 2012.
  • Public Humanities Lecture, “Hong Kong Films as seen from the Urban Comedies of Eileen Zhang,” Hong Kong History Museum, May 26, 2012.
  • Public Talk, “The Inspired Island: Series of Eminent Writers from Taiwan,” Hong Kong Academy of Performing Arts, Oct. 29, 2011.
  • Public Seminar on Union Film Studio, Lee Shau Kee School of Creativity, Aug. 16, 2011.
  • Master Class on “Eileen Chang and Film,” Hong Kong Film Archive, Jan. 30, 2010.
  • Public Seminar, “From Stage to Screen: The Art of Tong Tik-sang and Yam Kim-fai,” Hong Kong Heritage Museum, Dec. 27, 2009.
  • Public Talk, “The Cold War and Hong Kong Film,” Hong Kong Film Archive, June 13, 2009.

Community Service (Public Writing, Community Engagement)

  • Board Member of Pants Production (a local drama group est. 1995), 2012–2016
  • Honorary Member of the Cantonese Cinema Study Association (香港粵語片研究會), 2011
  • Member of the Hong Kong Film Critics Society (香港電影評論學會), 2011—
  • 〈湯唯—童話、歷險、回歸與認同？〉, 《群芳譜 : 當代香港電影女星》, 主編卓男, 蒲鋒, 香港: 三聯書店, 2017, 302–12.
  • 〈光影下的社會與文化歷史〉,《不滅星光: 香港電影明星影像 1960-1980》, 鍾文略(攝影), 香港商務, 2016, 28–32.
  • 《念念不忘，必有迴響—一人十一個六七故事》, 《十一騷動: 1967劇本集》, 火石文化, 2016, 77–81.
  • 《各能收斂自成名—張愛玲喜劇電影半生緣》,《聯合文學》(Unitas), Issue 311, Sep. 2010, 57-60. Rpt. in《張愛玲學校》, 台北: 聯合文學出版社, 2011, 139–49.
  • Public Seminar on Union Film Studio (中聯電影座談會), Lee Shau Kee School of Creativity, Aug. 16, 2011.
  • Public Talk, “The Inspired Island: Series of Eminent Writers from Taiwan” (他們在島嶼寫作: 台灣文學大師系列電影導賞會), Hong Kong Academy of Performing Arts, Oct. 29, 2011.
  • HKUST Public Humanities Lecture, “Hong Kong Films as seen from the Urban Comedies of Eileen Zhang,” Hong Kong History Museum, May 26, 2012.
  • Café Salon: “Hong Kong Ghost Movies,” Hong Kong Film Critics Society, Aug. 2, 2012.
  • Post-Performance Talk, “Enron” (Drama), Pants Productions, Shatin Town Hall, Oct 20, 2012.
  • Post-Performance Talk, Drama Performance on Tian Han, Pants Productions, Hong Kong Cultural Center, May 17, 2013.
  • HKUST Public Humanities Lecture, “Tradition and Renaissance: Phantoms of the Chinese Cinema,” Hong Kong History Museum, September 29, 2013.
  • Post-Performance Talk, Drama Performance: “Sketches of 1967,” Pants Productions, Sheung Wan Cultural Center (Black Box Theater), Nov 21 & 22, 2014.
  • 《念念不忘，必有迴響—一人十一個六七故事》, 《十一騷動: 1967劇本集》, 火石文化, 2016, 77–81.
  • 〈光影下的社會與文化歷史〉,《不滅星光: 香港電影明星影像 1960-1980》, 鍾文略(攝影), 香港商務, 2016, 28–32.
  • 〈看不見的電影、檔案、記憶〉, 《戀戀光塵 : 我和電影的二三事 (二)》, 主編張偉雄，香港 : 香港電影評論協會，2016，72 –85.
  • 〈湯唯—童話、歷險、回歸與認同？〉, 《群芳譜 : 當代香港電影女星》，主編卓男, 蒲鋒，香港 : 三聯書店，2017， 302–12.
  • “Engendering History: The Novels and Films of Lillian Lee,” Public Lecture; “Adaptation of Chinese Literary Classics,” Hong Kong Film Archive, August 5, 2018.
  • 〈生活在他方—應亮《自由行》〉, 《香港電影2018》, 主編: 陳志華,  香港 : 香港電影評論學會, 2019, xxx
  • 〈《過春天》：邊境、慾望、過客〉, 《香港電影2019：時代影像》, 主編: 李展鵬,  香港 : 香港電影評論學會, 2020, 205–210.  

More Details:  https://hkbu.academia.edu/KennyNg