JOURNAL ARTICLES AND BOOK CHAPTERS IN ENGLISH
“Repositioning Excess: Romantic Melodrama’s Journey from Hollywood to China.” In Melodrama Unbound, edited by Christine Gledhill and Linda Williams, 219–236. NY: Columbia University Press, 2018.
“Fan Xuepeng.” In Women Film Pioneers Project, edited by Jane Gaines, Radha Vatsal, and Monica Dall’Asta. NY: Columbia University Libraries, 2017.
“Rotoscoping Body: Secret Dancers, Animated Realism and Temporal Critique.” Spectator, 36.1 (2016): 33–42.
“Xiaoqingxin Film as the Possible Prospect for Taiwanese Popular Cinema.” IAFOR Journal of Asian Studies, 2(1) (2016): 74–84.
“Animating Landscape: Chinese Ink-and-wash Animation, 1960–2013.” International Journal of Comic Art, 16 (2014): 380–397.
JOURNAL ARTICLES AND BOOK CHAPTERS IN CHINESE
夢逐潮聲去——“冷戰”格局下的潮語戲曲片 [Teochew Opera Film in the Cold War].當代電影[Contemporary Cinema], 7 (2017): 140–143.
當學術主體性進入影史寫作領域——從“華語電影”爭鳴說起 [When Subjectivity Enters the Field of Film History].當代電影[Contemporary Cinema], 5 (2017): 27–32.
重演的雅努斯時代：電影、學術與人文精神 [The Janus Age Once More: Film, Academia and Humanism].思逸：文藝文化研究期刊[Siyi: A Journal of Arts and Culture],vol. 1 (2015): 4–6.
眾聲喧嘩與艱難起步：中國動畫研究的現狀與展望 [Existing Scholarship and Prospects of Chinese Animation Studies]. 電影藝術[Film Art], 359 (6) (2014): 39–42.
跨越敘事藝術的藩籬：論《紅樓夢》的跨媒介改編 [Crossing the Boundaries of Arts: Trans-media Adaptations of Dream of the Red Chamber]. 紅樓夢學刊 [Journal of Dream of the Red Chamber], 6 (2014): 63–84.
風格的矩陣，生命的呼吸：從《大象》看電影創新之路 [The Origins of Originality: The Case of Elephant] 電影評介[Film Comment], 432 (2011): 40–42.
從湯顯祖到《紅樓夢》的美學延承：以“香菱學詩”爲核心 [From Tang Xianzu to Dream of the Red Chamber: A Study of Xiangling Learning Poems] In 北大社團學術作品合集 [An Anthology of Academic Works of Peking University Associations], edited by Peking University Youth League Committee, 188–193. Beijing: Peking University Press, 2010.
“Review of China in the Mix: Cinema, Sound, and Popular Culture in the Age of Globalization.” China Review International, 24(1) (2019): 71–74.
爇情光影与历史褶皱 [Review of Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945]. 當代電影[Contemporary Cinema], 4(2016): 199–200.
SELECTED ONLINE ARTICLES AND INTERVIEWS
楊槃槃對話周聖崴 [Interview: Panpan Yang in Conversation with Shengwei Zhou]. 深焦[Deep Focus], August 13, 2018.
《女他》與物動畫的前世今生 [SHe and the Secret Life of Object Animation]. 深焦[Deep Focus], June 21, 2018.
2017年國產動畫記 [Chinese Animation 2017]. 澎湃[The Paper], February 1, 2018.
再看《新白娘子傳奇》: 信物, 唱段，與愛情的第二種結構 [The Legend of White Snake: Tokens, Singings, and the Second Structure of Romance]. 虹膜 [Iris], 96 (2017).
訴不盡的《滾滾紅塵》[Red Dust]. 虹膜[Iris], 79 (2016).
阿涅斯·瓦尔达:「新浪潮恐龍」的三重生命[The Triple Life of the French New Wave Dinosaur]. 虹膜[Iris], 62 (2016).
虛假記憶與懷舊變奏: 也談《大聖歸來》[Prosthetic Memory and Varied Nostalgia: Monkey King is Back].虹膜[Iris], 48 (2015).
菊石遺痕：管窺楊德昌《追風》的動畫美學 [Traces of Ammonites: Animation Aesthetics of Edward Yang’s The Wind]. 虹膜[Iris], 45 (2015).
《輝夜姬物語》: 當時間溢出[When Time Spills Over: The Tale of Princess Kaguya]. 虹膜[Iris], 35 (2015).
SELECTED TRANSLATIONS (CHINESE TO ENGLISH)
Bai Jingsheng, “Throwing Away the Crutch of Drama [丟掉戲劇的拐杖].” In Chinese Film Theory and Criticism, edited by Guo-juin Hong, Jason McGrath, Victor Fan and Hongwei Thorn Chen. Amsterdam: Amsterdam University Press, forthcoming.
Eileen Chang, “On the Future of Cartoons [論卡通畫之前途].” Association for Chinese Animation Studies (ACAS) online publication.
SELECTED TRANSLATIONS (ENGLISH TO CHINESE)
Wu Hung, 中國繪畫的媒材與形式 [Medium and Form in Chinese Painting]. In 第一堂课：在哈佛和芝大教美术史 [The First Class: Teaching Art History at Harvard and University of Chicago], forthcoming.
Dana Polan, 好萊塢二戰政宣片的風格規範與異象 [Stylistic Regularities (and Peculiarities) of the Hollywood World War II Propaganda Film]. 電影藝術 [Film Art], 4 (2015):94–100.
Richard Maltby, 標準展映合同和經典好萊塢電影未被譜寫的歷史[The Standard Exhibition Contract and the Unwritten History of the Classical Hollywood Cinema]. 電影藝術 [Film Art], 2 (2014): 126–132.
“Xu Bing’s The Character of Characters and the Possibilities of Calligraphic Animation.” The 1st ACAS Academic Conference on Chinese Animation, Hong Kong University of Science and Technology, May 10–13, 2021, invited.
“Ghost in the Machine, or the ‘Trick’ Beginning of Chinese Animation History.” Association of Asian Studies Annual Conference, Seattle, March 25–28, 2021, accepted.
“From Retouching Photos to (Re)touching Moments.” The Attractions of the Moving Image: A Conference in Celebration of Tom Gunning, University of Chicago, Oct 25–26, 2019.
“Enchanted Space: Stop-motion Tricks in Chinese Silent Cinema.” Concepts of Space for East Asian Studies Conference, University of Minnesota, May 11–12, 2019.
“Calligraphy on Stage and Screen: Hieroglyphic Writing in Dream of the Bridal Chamber (2005) and the Peking Opera Grand Mansion Gate (2017)” Connecting the Dots through Guo Baochang: Contemporary Chinese Opera, Film, TV Symposium, University of Chicago, February 21–23, 2019.
“Time Derails: Stop-motion Tricks in Silent Cinema.” The 2018 Society for Cinema and Media Studies Conference, Toronto, March 14–18, 2018.
“Translocality, Remediation, and the Vernacular: Teochew Opera Film in the 1950s and 1960s.” The 2017 Society for Cinema and Media Studies Conference, Chicago, March 22–26, 2017.
“Operatic Imagination: Teochew Cinema as Translocal Vernacular Practice.” Vernacular Practices Across East Asia Conference, University of Chicago Graduate Student Conference, Chicago, October 7–9, 2016.
“Animating the Handscroll: Edward Yang’s Unfinished Film The Wind.” The 2016 Society for Cinema and Media Studies Conference, Atlanta, March 30–April 3, 2016.
“Rethinking Excess: Observations on Chinese Reception and Remakes of Hollywood Melodramas, 1937–1945.” The 2015 Society for Cinema and Media Studies Conference, Montreal, March 25–29, 2015.
“Private Dancers, Forgotten Technologies: Criticizing Technological Determinism through the Rotoscoping Process.” Technologies of Knowing –TechKnow, USC Critical Studies Graduate Conference, University of Southern California, October 24–25, 2014.
“Music in Abstract Animation: An Intercultural Analysis.” Music and the Moving Image IX Conference, NYU Steinhardt, May 30–June 1, 2014.
“Color Competition: Re-imagining the Disney-Fleischer Relationship.” The Silver Screen: Histories and Theories of Cinematic Colors, 10th Annual University of Chicago Cinema and Media Studies Graduate Student Conference, University of Chicago, April 4–5, 2014.
“Cultural Identity and Digital Nostalgia: Ink-and-wash Animation as a Case Study.” Illustration, Comics, and Animation Conference. Dartmouth College, February 28–March 2, 2014.
“West Encounters East: Collage Art in the Post-Photoshop Age.” Monstrous Media: Hybrids, Aberrations, and Other Unclassifiables, NYU Cinema Studies 2014 Graduate Student Conference. NYU Tisch, February 14–15, 2014.
“The Taste of Ice Kacang: Xiaoqingxin Film as the Possible Prospect of Taiwan Popular Cinema.” Post-Olympics Chinese Cinema Symposium, Bader International Study Centre, Queen’s University, December 10–11, 2013.
SELECTED WORKSHOP PRESENTATIONS
“Ink on Screen, or What Animation Calls Thinking.” Co-hosted by Visual and Material Perspectives on East
Asia Workshop and Mass Culture Workshop (Discussant: W. J. T. Mitchell), University of Chicago, January
“Intermediality in Chinese Animation.” 2nd Getty/University of Chicago Dissertation Workshop (Discussant: Wu Hung). Beijing, June 18–30, 2019.
“The Romance of Lychee and Mirror: Teochew Opera Film and the Question of Remediation.” Co-hosted by Visual and Material Perspectives on East Asia Workshop and Theater and Performance Studies Workshop (Discussant: Judith Zeitlin). University of Chicago, March 3, 2016.