Photo by 攝影師:Jean Wong

Research 學術研究

Monographs 學術書籍

Extraterritoriality: Locating Hong Kong Cinema and Media (Edinburgh: University of Edinburg Press, June 2019).

Cinema Approaching Reality: Locating Chinese Film Theory (Minneapolis: University of Minnesota Press, 2015); nominated for the Kraszna-Krausz Book Award (Moving Image).

Articles 學術文章

Peer-Reviewed 同行評審

“Own-Becoming,” Cinema Journal 57, no. 2 (Winter 2018): 177–80.

 

Poetics of Failure: Performing Humanism in Chinese Blockbuster,” in Screening China’s Soft Power, eds. Paola Voci and Luo Hui (New York: Routledge, 2017), 56–72.

 

“Cinemaof Reindividuation and Cultural Extraterritoriality: ‘Chinese’ Dialect Cinemas and Regional Politics,” in The Multilingual Screen: New Reflections on Cinema and Linguistic Difference, eds. Tijana Mamula and Lisa Patti (New York: Bloomsbury, 2016), 255–76.

"Poetics of Parapraxis and Reeducation: The Hong Kong Cantonese Cinema in the 1950s," in The Poetics of Chinese Cinema, eds., Gary Bettison and James Udden (London: Palgrave MacMillan, 2016), 167–83.

"Mirroring-Drifting – Lam Lin-tung and film aesthetics," Asian Cinema 27, no. 1 (April 2016): 29–42.

"Annähernde Realität. Chinesische Ontologie und das Potenzial der Zeit," trans. Simon Frische, Rabbiteye, no. 8 (2016), http://www.rabbiteye.de/2016/8/fan_ontologie.pdf.

"Free-Indirect-Discourse Reboot: Beijing Queer Independent Cinema as a Mediating Environment," Reconstruction 16, no. 2 (2016), http://reconstruction.eserver.org/test/162/Fan.shtml.

“Cinema of Reindividuation and Cultural Extraterritoriality: ‘Chinese’ Dialect Cinemas and Regional Politics,” in The Multilingual Screen: New Reflections on Cinema and Linguistic Difference, eds. Lisa Pitta and Tijana Mamula (New York: Bloomsbury Publishing, 2016), 255–76.

 

“Revisiting Jia Zhangke: Individuality, Subjectivity, and Autonomy in Contemporary Chinese Independent Cinema,” in The Global Auteur: The Politics of Authorship in 21st Century Cinema, eds. Seung-hoon Jeong and Jeremi Szaniawski (New York: Bloomsbury Publishing, 2016), 323–42.

 

Cultural Extraterritoriality: Intra-Regional Politics in Contemporary Hong Kong Cinema,” East Asian Journal of Popular Culture 1, no. 3 (September 2015): 389–402.

“Performing Nationality: The Fifth Generation as an ‘American’ Transnational Cinema,” in American and Chinese-Language Cinemas: Examining Cultural Flows, eds. Lisa Funnell and Man-Fung Yip (New York: Routledge, 2015), 189–203.

 

Extraterritorial Cinema: Shanghai Jazz and Post-War Hong Kong Mandarin Musicals,” The Soundtrack 6, nos. 1 and 2 (2014 [2015]): 33–52.

〈放心〉 “Fangxin” [“Putting Down One’s Heart”], 《思逸》 Siyi [Siyi: A Journal of Art and Culture], no. 1 (February 2015): 1–2.

 

〈CEPA前後香港電影對於港人域外意識的交涉〉 “CEPA qian hou Xianggang dianying duiyu Gangren yuwai yishi de jiaoshe” [“Negotiating Extraterritorial Consciousness in Hong Kong Cinema Before and After CEPA”], 《電影藝術》 Dianying yishu [Film Art], no. 356 (2014): 24–31.

 

“Approaching Reality: Epistemic Distance, Political Crises and Temporal Imaginations in the Sino-French Dialogue on Cinema Ontology,” World Picture Journal, no. 7 (2012), http://www.worldpicturejournal.com/WP_7/Fan.html.

 

The Poetics of Addiction: Stardom, ‘Feminized’ Spectatorship, and Inter-Regional Business Relations in the Twilight Series,Camera Obscura 27, no. 1 (2012): 31–67.

 

Redressing the Inaccessible through the Re-Inscribed Body: In the Year of 13 Moons and Bad Education,” in A Companion to Rainer Werner Fassbinder, ed. Brigitte Peucker (Hoboken: Wiley-Blackwell, 2012), 118–41.

 

The Cinema of Sun Yu: Ice Cream for the Eye … but with a Homo sacer,Journal of Chinese Cinemas 5, no. 3 (2011): 219–51.

 

New York Chinatown Theatres under the Hong Kong Circuit System,Film History 22, no. 1 (March 2010): 108–26.

 

The Unanswered Question of Forrest Gump,Screen 49, no. 4 (Winter 2008), 450-61.

 

“English Football and Its Hong Kong Television Audience,” CLCWeb: Comparative Literature and Culture: A WWWeb Journal 8, no. 1 (2006), http://docs.lib.purdue.edu/clcweb/vol8/iss1/3/.

Book Reviews 書評

“Contemporary Sino-French Cinemas: Absent Fathers, Banned Books, and Red Balloons,” Pacific Affairs 90, no. 3 (2017): 577–79.

"Sounding the Modern Woman: The Songstress in Chinese Cinema by Jean Ma," Modern Chinese Literature and Culture, 2016, http://u.osu.edu/mclc/book-reviews/fan/

"Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945,The China Quarterly 244 (December 2015): 1093–136.

"Giovanni Vitiello.The Libertine’s Friend: Homosexuality and Masculinity in Late Imperial China,Journal of the Society for Ming Studies, no. 68 (September 2013): 83–91.

 

“Victor Fan on Cities Surround the Countryside: Urban Aesthetics in Postsocialist China,” Screening the Past, no. 29 (2010), http://www.latrobe.edu.au/screeningthepast/29/cities-surround-the-countryside.html.

 

“Victor Fan on Film Theory and Contemporary Hollywood Movies,” in Screening the Past, no. 28 (2010), http://www.latrobe.edu.au/screeningthepast/28/film-theory-and-contemporary-hollywood-movies.html.

 

“Victor Fan on Hong Kong New Wave Cinema (1978-2000), in Screening the Past, no. 26 (2009), http://www.latrobe.edu.au/screeningthepast/26/hong-kong-new-wave-cinema.html.

Non-Peer-Reviewed 非同行評審

《字花》編輯室 Zihua bianjiishi (Editors of Fleurs des lettres), 〈從阿甘本「例外狀態」到香港的「文化域外」〉 “Cong Aganben ‘liwai zhuangtai’ dao Xianggang de ‘wenhua yuwai’: Fan Kele bifang” [From Agamben’s “state of exception” to Hong Kong’s “cultural extraterritoriality”: a written interview with Victor Fan], 《字花》 Zihua [Fleurs des lettres], no. 53 (January–February, 2015): 116–19.

 

“From the Shadow Play to Electric Shadows,” in Electric Shadows: A Century of Chinese Cinema, ed. James Bell (London: BFI, 2014), 8–13.

 

“État actuel du cinéma de la Chine continentale: vers une reconfiguration de la création et de la production” [The actual state of mainland Chinese cinema: towards a reconfiguration of creation and production], 24 Images, no. 155 (January 2012): 6–8.

 

In Film Festival Reporter (later known as Film Festival Today): 2000-2004; Covering the African-Diaspora Film Festival, New York Underground Film Festival, MIX New York Lesbian and Gay Experimental Film Festival, Gen Art, and MOXIE Film.

 

〈無菲林電影〉 “Wu feilin dianyin” [Cinema without film], in 《突破少年》 Tupo shaonian [Breakthrough: youth edition] (Hong Kong, 1995).

Articles in Printculture 刊登在博客Printculture中的文章

“Repurposing ‘Yujing’” (13 May 2013); “The Invisible Native-American Spectator(s)” (9 October 2012); “All About Glee” (11 December 2011); “Poetics of Addiction [On Twilight] (4 April 2010); “The Genius and the Aura” [On Gustavo Dudamel] (15 October 2009); “Whose Trauma is It?: Reading Inglourious Basterds” (28 September 2009); “From The Paradine Case to Prop 8” (19 August 2009); “Cat and Mouse” [On Animal Consciousness] (17 July 2009); “The Grand Finale” [On Mahler’s Symphony No. 8] (27 June 2009); “Re-Reading This Sporting Life” (23 June 2009); “Is Hero a Sellout?” (13 June 2009); “On ‘Lust, Caution’ (The Novella)” (18 May 2009); “The Nocturne” [On Chopin] (1 May 2009); “The Christ that Remains” [On Nicholas Ray’s King of Kings] (26 April 2009); “Rethinking Broken Blossoms through Canhua lei” (12 April 2009); “The Cinema of Sun Yu” (6 April 2009); “Logan’s Doubt (In Kang Youwei’s Parallel Universe)” [On Logan’s Run and Kang Yougwei] (30 March 2009); “On Tom Brown’s School-Days” (23 March 2009); “Hawks and Sparrows” [On the Cinema of Pasolini] (16 March 2009); “Whose Funny Valentine? Part 2” (On Slumdog Millionaire) (24 February 2009); “The Post-Mortem Life of Music” (14 December 2008); “What is Truly Absent from the Beijing Olympics?” (12 August 2008); “Football and ‘Modern Slavery’” (18 July 2008); “Euro 2008” (5 July 2008).

Academic Lectures, Conferences, and Professional Events 學術講座、研討會、和其它專業活動

 

Keynote Speaker 主題講者

“Cultural Extraterritoriality: Intra-Regional Politics in Contemporary Hong Kong Cinema,” Post Olympics Chinese Cinema Symposium, Bader International Study Centre, Queens University, East Sussex, 2013.

 

Guest Speaker 客席講者

"Cinema Ontology Revisited: Rethinking Film Theory through the Lens of Buddhism," University of Hong Kong, 16 October 2018.

"Locating Fey Mou(s): The Topos of Chinese Film Theory," Hong Kong Baptist University, 8 October 2018.

 

"Time and Nothingness: The Assassin and The Way It Is," Hong Kong Baptist University, 19 November 2018.

「時間/空:觀照《刺客聶隱娘》」 "Shijian/kong: Guanzhao Cike Nie Yinniang" (Time and Nothingness: The Assassin and The Way It Is), 中央研究院 Academica Sinica, Taipei, 22 November 2018.

“Free-Indirect-Discourse Reboot: Beijing Queer Independent Cinema as a Mediating Environment,” Birmingham School of Media, Birmingham City University, December 2017.

“Nature, Phenomenon, and Appearance: Restoring Buddhist Concepts in Early Chinese Film Theory,” Lecture, National Chiao Tung University, Hsinchu, Taiwan, December 14, 2016.

 

“The Something of Nothing: Buddhism and The Assassin,” Research Seminar, Centre for China Studies, Chinese University of Hong Kong, 2016.

 

“Fey Mou: The Presence of an Absence,” Yale-NUS Symposium on Film and Painting, Yale-NUS College, Singapore, March 5, 2015.

 

“Cultural Extraterritoriality: Intra-Regional Politics in Contemporary Hong Kong Cinema,” Research Seminar, Department of Comparative Literature, University of Hong Kong, 2014.

 

“Cinema of Thought: Iwasaki Akira and Directed Consciousness in Shanghai Marxist Film Theory, 1930–35,” Inter-Asia Cultural Studies Conference, Korean National University of Arts, Seoul, 2014.

 

“Approaching Reality: Reconfiguring Chinese Cinema Ontology,” Communication and Symphony: A China-UK Dialogue on Chinese Cinema Studies, July 9–10, 2014.

 

Presenter 講者

Society of Cinema and Media Studies

“Illuminating Reality: Cinema Ontology Revisited in the Eyes of Buddhist Philosophies,” Toronto, 2018. 

 

Workshop participant in ‘From Media Situations to Media Theory: Media Theorization in a Global Context,” Chicago, 2017.

Richard Dyer in the House of Cinema, Atlanta, 2016, coorganizer and presenter.

“Classical Cantonese Cinema as a Public Sphere: The Cantonese Theater Film,” Atlanta, 2016.

“Subjectival Catharsis: Time and De-Subjectivization in Pema Tseden’s Old Dog,” Montréal, 2015.

 

“Extraterritorial Cinema: Shanghai Jazz and Postwar Hong Kong Mandarin Cinema, 1945–49,” Seattle, 2014.

 

“Contemporary Hong Kong Cinema: Restaging the Desire for and Resentment Toward ‘National’ Integration,” Chicago, 2013.

 

“Cantonese Cinema: Industrial Crisis and Reconstruction, 1937–54,” Boston, 2012.

 

“Double Occupancy and Nationalism: Contesting Notions of Citizenship in Chinese-Hollywood Co-Production of the Historical Epic,” New Orleans, 2011.

 

NECS

“Love and Fear of Mediated Reality: The Emergence of Hong Kong’s Extraterritorial Consciousness,” Amsterdam 2018.

American Comparative Literature Association

“Shanghai and the World: Double Negotiation between Cinema and Literature in the 1930s,” Vancouver, 2011.

 

“Too Close to Touch, Too Painful to Remember: Donnie Darko,” Long Beach, 2008.

 

“Agamben and Photogénie,” Princeton, 2006.

 

“Football and Hong Kong Television Audience,” State College, 2005.

 

Other Conferences

“Interdependent Origination,” InterMedia Workshop, King’s College London, October 17, 2016 (organizer and presenter).

 

“Extraterritoriality and the Hong Kong Cantonese Cinema in the 1950s,” Emergency Cultures: New approaches to the study of late colonialism and the Cold War in Malaya, Singapore and Hong Kong, University of Nottingham, July 8, 2016.

 

“The Something of Nothing: Zen Buddhism and The Assassin,” The Assassin: Hou Hsiao-hsien’s Wuxia Aesthetic,” Academica Sinica, Taipei, June 29–30, 2016.

 

“Nature, Phenomenon, and Appearance: Restoring Buddhist Concepts in Early Chinese Film Theory,” Film Theory in Media History: “Nodes” and “Edges,” Shanghai-Berkeley Film and Media Research Center, Shanghai Film Academy, Shanghai University, and Editorial Board, Diaying yishu [Film art], Shanghai, June 3–5, 2016.

 

“Zhu/Feizhu: Towards a Buddhist Understanding of Video Game Temporality,” Gaming East Asia, Princeton University, April 8–9, 2016.

 

“Free-Indirect-Discourse Reboot: Beijing Queer Independent Cinema as a Mediating Environment,” The Invisible: asia • theory • visuality conference, Princeton University, November 13–14, 2015.

 

“Cinema at Play: The Cantonese Sound Film as an Extraterritorial Discourse, 1930–42,” New Angle on Chinese Film History, University of Minnesota, Minneapolis, August 13–15, 2015.

 

“Cultural Extraterritoriality: Intra-Regional Politics in Contemporary Hong Kong Cinema,” Chinese Film Research Symposium, University of Nottingham, June 5, 2015.

 

“Cultural Extraterritoriality: Intra-Regional Politics in Contemporary Hong Kong Cinema,” The 11th ACSS Conference 2014, July 14–16, 2014, Universidade de Macau, Macau.

 

“An Alternative Mode of Realism?: Theoretical Debates on Hong Kong Cantonese Cinema, 1960–82,” Permanent Seminar on the Histories of Film Theories, Ann Arbor, September 2012.

           

“Han Han: Mass Cultural Critique as a Performance of Failure,” Politics of Potentiality, McGill University, Montréal, May 2012.

 

“Open Discourses on Sexuality in Shanghai Film Writing and Criticism in the 1930s,” Association for Asian Studies, Toronto, 2012.

 

“Hollywood, Film Theory, and Domestic Scandal: Linguistic Registers and the Negotiation of Female Sexualities in Cinematic Discourses,” Shifting Language Registers in Late Qing/Republican China, McGill University, Montréal, 2010.

           

“Sports, ‘Cinema,’ and the Myth of a Haunting Dream,” Asia in Motion, Yale University, New Haven, 2009.

 

“Opium and Football,” North American Society of Sociology of Sports, North Carolina, 2005.

           

“Homosexuality and Early Hitchcock Cinema,” Princeton University, Comparative Literature Graduate Student Conference, Princeton, 2007.

 

“Racism in English Football,” Chicago University, Sociology Student Conference, Chicago, 2005.

 

“English Hooliganism and Italian Ultra,” University of Indiana, French and Italian Literature, Bloomington, 2005.

 

“Kenneth Anger and Ambiguity,” CUNY, Graduate Center, Comparative Literature, New York City, 2005.

 

Public Lectures 公開講座

“A Brief History of Queer Chinese Cinema,” BFI, September 8, 2014.

 

Sex, Politics and Aesthetics in the Shanghai Golden Age,” BFI, June 3, 2014.

 

Introduction to the film Curse of the Golden Flowers and Q&A, BME Film Festival, University College London, October 16, 2013.

 

“Hollywood and China––A Many Splendored Thing,” Confucius Institute in Quebec, Montréal, April 28 and May 4, 2011.

 

“The Rise and Fall of Sun Sing Theatre,” Museum of Chinese in America, New York, December 16, 2010.

 

Guest Lectures in Classes 客席講師

“Norwegian Wood: Prosthetic Memory and Poetics of Parapraxis,” Taiwan Chengchi University, Taipei, Skype, 2013.

 

“Orientalism Takes Effort: Business and Readings of the Fifth Generation Films,” McGill University, Anthropology, Montréal, 2010, 2011, and 2013.

 

“Japanese Bunraku and the Japanese New Wave,” Georgia Institute of Technology, Humanities, Atlanta, Ga., 2008.

 

“Women in Japanese Horror Films,” Smith College, Film Studies, Northampton, Mass., 2007.

 

“History of Hong Kong Cinema and Negotiations of Modernity,” Yale University, Summer Film Institute, New Haven, 2005 and 2006.

 

Media Interviews 媒體訪問

BBC, “Film Programme,” Interview on Spring in a Small Town (with Noah Cowan)

 

FACULTI, “Approaching Reality: Cinema Potentiality in Chinese Film Theory,”

http://youtu.be/6MG2URBDSKE