副教授

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

专业范畴: 
Film Censorship / Film as Cultural Heritage / Visual and Urban Culture / Literature and Film Adaptation / Historical Imagination and Cultural Geography / Critical Theory and Aesthetics

主要成就: 
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, forthcoming).

“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 (Michigan University Press, forthcoming in 2018).

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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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
  • 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

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

  • 《以影犯禁: 香港电影的中国政治》, in preparation of MS.
  • 《香港独立电影》(co-authored), in submission.

Book Projects

  • “The Way We Were: Hong Kong/Chinese Cinema during the Cold War"
  • “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” 语言、地域、地缘政治:二十世纪五六十年代国泰/电懋的都市喜剧 [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 都市文化中的现代中国 [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” 冷战时期香港电影的政治审查 [Political censorship of Hong Kong cinema in the Cold War period], in Wong Ain-ling and Lee Pui-tak (eds.), Lengzhan yu Xianggang dianying 冷战与香港电影 [Cold war and Hong Kong cinema]. Hong Kong: Hong Kong Film Archive, 2009, 53-69.
“Xianggang dianying bansheng yuan: Zhang Ailing de xiju xiangxiang” 香港电影半生缘:张爱玲的喜剧想象 [Hong Kong cinema in her later life: Zhang Ailing’s Comic Imagination], in Chen Zishan and Luo Gang (eds.), Congdu Zhang Ailing 重读张爱玲 [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” (语言、地域、地缘政治:试论五、六十年代国泰/电懋的都市喜剧), in《电影欣赏学刊》 (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: 冷战, 瘟疫, 谍战〉(Image Surveillance: Cold War, The Plague, and Spy War),《中国文学学报》no. 2. (Dec 2011):313-26。
2014 〈六七「暴动」与香港的电影文化〉,沈旭辉[编]:《1967:国际视野的反思》。香港:天地图书,2014,156-97.
2016 〈战后香港粤语片的左翼乌托邦:以中联改编文学名著为例〉,《当代电影》,no.7 (July 2016)
2017 “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.
forthcoming “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, forthcoming)
“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 (Michigan University Press, forthcoming in 2018).
“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」中的地缘诗学与歷史想象 [Geopoetics and historical imagination in Li Jieren’s format of the roman fleuve], in Fan Shanbiao, et al (eds.),墨痕深处:文学、历史、记忆论集 [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 〈李劼人小说《大波》中的时间性和复调性〉,《李劼人研究, 2011》,成都:四川文艺出版社,2011,67-88。
2012 “From Global Colonialism to Global Coloniality,” Localities, vol. 2 (Nov. 2012): 355-59.
2015 〈大鸟吃小蝇—地方记忆及对李劼人《暴风雨前》的另类读法〉,《现代中文学刊》(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
forthcoming “The Migrant Voice: Writing Diaspora between Sinophone and Anglophone Scripts” (accepted and revised for Journal of Modern Literature in Chinese)
“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

  • “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.
  • “A (Male) Lover's Tears: Critical Sentimentalism in 1950s Cantonese Cinema”
  • 〈安东尼奥尼遇上中国: 新现实主义影像于文革时代的命运〉
  • 〈「洗脑」考掘学:一个香港制造和观念贩运的故事〉,朱耀伟 ed.《香港关键词2017》

Creative Work

  • 编剧:《巴士奇遇记》,为《十一骚动:1967的短句零章》短剧之一,一条裤(Pants Production)制作, Nov 14–23, 2014,香港话剧团黑盒剧场。

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

  • “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 (香港粤语片研究会), 2011—
  • Member of the Hong Kong Film Critics Society (香港电影评论学会), 2011—
  • 〈汤唯—童话、历险、回归与认同?〉, 《群芳谱 : 当代香港电影女星》, 主编卓男, 蒲锋, 香港: 三联书店, 2017, 302–12.
  • 〈光影下的社会与文化历史〉,《不灭星光: 香港电影明星影像 1960-1980》, 钟文略(摄影), 香港商务, 2016, 28–32.
  • 《念念不忘,必有回响—一人十一个六七故事》, 《十一骚动: 1967剧本集》, 火石文化, 2016, 77–81.
  • 《各能收敛自成名—张爱玲喜剧电影半生缘》,《联合文学》(Unitas), Issue 311, Sep. 2010, 57-60. Rpt. in《张爱玲学校》, 台北: 联合文学出版社, 2011, 139–49.

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