主页 / 关于我们 / 电影人 / 教学人员 /

吴国坤教授

吴国坤教授
副教授

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

Area of Interests: 
Adaptation, literary and transmedia studies; Censorship, repression and creativity; Critical theory and aesthetics; Cultural memory, preservation and heritage; Hong Kong television, radio and film; Sinophone cinema and popular culture; Transnational cinema and visual culture; Urban culture and cultural geography

Major Highlights: 
2024 General Research Fund (GRF), “Radio Literature and Transmedia Storytelling in Cold War Hong Kong, 1949–1969”

“Right Screen in Hong Kong: Chang Kuo-sin’s Asia Pictures and The Heroine,” in Remapping the Cold War in Asian Cinemas, edited by Sangjoon Lee and Darlene Espena (Amsterdam: Amsterdam University Press, 2024), 127–46.    

 “Invasion, Takeover, and Disappearance: Post-Cold War Fear in Hong Kong SAR Sci-fi Film,” Routledge Handbook to Alternative Futurisms, edited by Grace Dillon, Isiah Lavender III, Taryne Jade Taylor, and Bodhisattva Chattopadhyay (New York: Routledge, 2023), 421–29.  
2023

“Cosmopolitanism from Below: Union Film’s Adaptation of World Classics,” Positions: Asia Critique 31.3 (2023): 623–48.

“A Revisionist Reading of The Goddess: Visual Narrative Power in Chinese Silent Cinema,” Journal of Chinese Film Studies 3.1 (2023): 103–23.

“The Man without a Country: British Imperial Nostalgia in Ferry to Hong Kong (1959),” Global Storytelling: Journal of Digital and Moving Images 2.2 (Winter 2022): 131–73.
2022 "Borderscape, Exile, Trafficking: The Geopoetics of Ying Liang’s A Family Tour and Bai Xue’s The Crossing,” in Melody Yunzi Li & Robert T. Tally Jr. (eds), Affective Geographies and Narratives of Chinese Diaspora. Geocriticism and Spatial Literary Studies. New York: Palgrave Macmillan, 51–68.  
Faculty/School/Academy of Visual Arts Performance Award in Scholarly Work
“Midnight Movies in Chinatown: Chinese theaters were a popular draw in the first half of the 20th Century,” New York Archives Magazine 22.1 (Summer 2022): 28–34.
“From Gone with the Wind to A Spring River Flows East: Melodrama and Historical Imagination in Postwar Chinese Cinema,” in Jeff Kyong-McClain, Jingjing Chang and Russell Meeuf (eds.), Chinese Cinema: Identity, Power, and Globalization (Hong Kong: Hong Kong University Press, 2022), 79–96.
2021 Faculty/School/Academy of Visual Arts Performance Award in Research Supervision
General Research Fund (GRF), “Between Politics and Aesthetics on the Left Screen: Rewriting the History of the Chinese Cinema of Hong Kong, 1937–1997”
Yesterday, Today, Tomorrow: Hong Kong Cinema with Sino-links in Politics, Art, and Tradition [昨天今天明天：內地與香港電影的政治、藝術與傳統] Hong Kong: Chunghwa Bookstore, 2021.
“Soft-boiled Anti-Communist Romance at the Crossroads of Hong Kong, China, and Southeast Asia.” In Chineseness and the Cold War Contested Cultures and Diaspora in Southeast Asia and Hong Kong, edited by Jeremy E. Taylor and Lanjun Xu, 94–109. New York: Routledge, 2021.
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.

​

浏览更多 ...