陳智廷博士研究助理教授
timmychen@hkbu.edu.hk
34118155
Education:
PhD in Musicology, The University of Hong Kong
Area of Interests:
Chinese-language Cinemas / Asian Cinema / Film Music / Sound Design / Sound Studies / Song-and-Dance Film
Major Highlights:
| 2019 | |
| Review of Ballad on the Shore (岸上漁歌), by Ma Chi-hang. Yearbook for Traditional Music 51 (November 2019): 320-21. https://doi.org/10.1017/ytm.2019.36 | |
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“Płeć i polityka w trylogii prostytucji Fruit Chana.” (Gender and Politics in Fruit Chan’s Prostitute Trilogy) In Made in Hong Kong. Kino czasu przemian (Made in Hong Kong. Cinema of the time of change), edited by Jagoda Murczyńska, 65-83. Warsaw: 13th Five Flavours Asian Film Festival, 2019. |
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“A Future Without China? Livelihood Issues in Ten Years Taiwan.” Frames Cinema Journal, no. 15 (May 2019). https://framescinemajournal.com/article/a-future-without-china-livelihood-issues-in-ten-years-taiwan |
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| “The Revolution of Realism in the ‘1987 Taiwan Cinema Manifesto.’” NANG, no. 6 (April 2019): 14-16. | |
| Chen, Timmy Chih-Ting and Chang Hsiao-hung. “The Three Ears of The Assassin.” In The Assassin: Hou Hsiao-hsien’s World of Tang China, edited by Peng Hsiao-yen, 99-113. Hong Kong: Hong Kong University Press, 2019. https://doi.org/10.2307/j.ctvfxv8tg.15 | |
| 2017 | “Sonic Secrets as Counter-Surveillance in Wong Kar-wai’s In the Mood for Love.” In Surveillance in Asian Cinema: Under Eastern Eyes, edited by Karen Fang, 156-75. New York: Routledge, 2017. |
| 2016 | “Sound Design.” Journal of Chinese Cinemas, 10, no. 1 (March 2016): 34-37. |
| “Wong Works in Television.” In A Companion to Wong Kar-Wai, edited by Martha P. Nochimson, 562-68. Chichester: John Wiley & Sons, 2016. | |
| “Wong Works in Advertising.” In A Companion to Wong Kar-Wai, edited by Martha P. Nochimson, 569-85. Chichester: John Wiley & Sons, 2016. |
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Education
| PhD Musicology, The University of Hong Kong |
| BA English, National Taiwan University |
| Visiting Student, University of Maryland, College Park |
Teaching and Research Areas
| Film Music and Sound Design |
| Hong Kong Cinema and Hong Kong Culture |
| Chinese screen adaptations of The Phantom of the Opera |
| Song-and-Dance Film in Chinese-language Cinemas |
Publications
| 2019 | |
| Review of Ballad on the Shore (岸上漁歌), by Ma Chi-hang. Yearbook for Traditional Music 51 (November 2019): 320-21. https://doi.org/10.1017/ytm.2019.36 | |
|
“Płeć i polityka w trylogii prostytucji Fruit Chana.” (Gender and Politics in Fruit Chan’s Prostitute Trilogy) In Made in Hong Kong. Kino czasu przemian (Made in Hong Kong. Cinema of the time of change), edited by Jagoda Murczyńska, 65-83. Warsaw: 13th Five Flavours Asian Film Festival, 2019. |
|
|
“A Future Without China? Livelihood Issues in Ten Years Taiwan.” Frames Cinema Journal, no. 15 (May 2019). https://framescinemajournal.com/article/a-future-without-china-livelihood-issues-in-ten-years-taiwan |
|
| “The Revolution of Realism in the ‘1987 Taiwan Cinema Manifesto.’” NANG, no. 6 (April 2019): 14-16. | |
| Chen, Timmy Chih-Ting and Chang Hsiao-hung. “The Three Ears of The Assassin.” In The Assassin: Hou Hsiao-hsien’s World of Tang China, edited by Peng Hsiao-yen, 99-113. Hong Kong: Hong Kong University Press, 2019. https://doi.org/10.2307/j.ctvfxv8tg.15 | |
| 2017 | “Sonic Secrets as Counter-Surveillance in Wong Kar-wai’s In the Mood for Love.” In Surveillance in Asian Cinema: Under Eastern Eyes, edited by Karen Fang, 156-75. New York: Routledge, 2017. |
| Mar 2016 | “Sound Design.” Journal of Chinese Cinemas, 10, no. 1 (March 2016): 34-37. |
| 2016 | “Wong Works in Television.” In A Companion to Wong Kar-Wai, edited by Martha P. Nochimson, 562-68. Chichester: John Wiley & Sons, 2016. |
| “Wong Works in Advertising.” In A Companion to Wong Kar-Wai, edited by Martha P. Nochimson, 569-85. Chichester: John Wiley & Sons, 2016. | |
| 2015 | “From Reading Novel to Hearing Film: The Extraterritorial Sentiment/Space of Pre-existing Dialogue and Music in The Continent.” 從讀小說到聽電影：《後會無期》中引用對白與音樂的域外情懷／空間 Film Appreciation Journal, no. 160-161 (2015): 143-46. |
| 2014 | “Ancestral Roots and Moving Feet: The Omnibus Film Letters from the South by Six South East Asian Filmmakers.” 祖根與足跟：東南亞華人導演短片集《南方來信》Film Appreciation Journal, no. 158 (2014): 97-107. |
| 2013 | “Eroticized Inns: King Hu’s The Story of Sue San and Sons of Good Earth.” 情慾化的客棧：談胡金銓《玉堂春》與《大地兒女》的「妓院」場景 In A Touch of Magic: Veteran Set Designers Chan Ki-Yui and Chan King-Sam, edited by Cecilia Wong, 162-63. Hong Kong: Hong Kong Film Archive, 2013. |
Awards and Honors
| 2015 - 2016 | Li Ka Shing Prize, The University of Hong Kong |
| 2013 - 2014 | Louis Cha Postgraduate Research Fellowship in Chinese Studies |
| 2012 - 2013 | Rayson Huang Scholarship in Music |
Subtitling Experience
| 2017 | When I Was Eight Years Old 那年八歲 (Yang Jin, 2017) |
| 2016 | Three 三人行 (Johnnie To, 2016) |
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The Weaving of a Dream: Johnnie To’s Vision & Craft 杜琪峯的銀河製作：三人行製作紀錄 (Lin Zeqiu, 2016) |
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| Trivisa 樹大招風 (Frank Hui, Vicky Wong, Jevons Au Man-kit, 2016) | |
| 2015 | Office 華麗上班族 (Johnnie To, 2015) |
| 2014 | Imagining Evan Yang 想像/叩問：易文 (Shu Kei, 2014) |
| Don’t Go Breaking My Heart 2 單身男女2 (Johnnie To, 2014) | |
| Thin Dream Bay 海濱薄夢 (Shu Kei, 2014) |