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“On the Move: Animation in/as Contemporary Art.” King's College London, March 20, 2024.

Princess Iron Fan (1941) and its Imprints in Japanese Visual Culture.” Sainsbury Institute for the Study of Japanese Arts and Cultures, October 19, 2023.

“Images as Thinkers: Reimagining Contemporary Art.” University of College London, May 17, 2023.

“Tales of Water and Fire: Animating Chinese Art.” University of Rochester, January 30, 2023. 


“Deleuze’s American Friend: Stanley Cavell and the Theoretical Ambition of Chinese Animation.” Beijing Normal University, November 18, 2022.

“Animation as a Way of Seeing: The Afterlife of Chinese Painting and Calligraphy.” The University of Hong Kong, March 31, 2022.

“Animation and Calligraphy: Secret Affinities.” Science Museum, January 26, 2022, invited yet cancelled due to Omicron. 

“The Possibilities of Calligraphic Animation.” Washington University in St. Louis, May 6, 2021.

“China as Method, Image as Thinker.” SOAS University of London, April 20, 2021.

“When Snow White Came to China.” University of Wisconsin–Madison, March 5, 2020.

“Ink on Screen, or What Animation Calls Thinking.” San Francisco State University, February 10, 2020.

“Ink on Screen, or What Animation Calls Thinking.” University of Pennsylvania, January 31, 2020.

“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 17, 2020. 

 “Intermediality in Chinese Animation.” 2nd Getty/University of Chicago Dissertation Workshop in Chinese Art History (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.

“Animating Time.” School of Arts, Peking University, July 26, 2015.   


“The Animation of Inanimate Objects in Chinese Silent Cinema.” Chinese Animation: Multiplicities in Motion: A Book Publication Workshop in Honor of Yingjin Zhang, Hong Kong University of Science and Technology, June 29–30, 2023.

“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, March 1–May 12, 2021. 

“What the Water Said, or How to Manipulate Teardrops Frame by Frame.” The 2021 American Comparative Literature Association (ACLA) Virtual Conference, April 8–11, 2021.  

 “Ghost in the Machine, or the ‘Trick’ Beginning of Chinese Animation History.” Association of Asian Studies Annual Conference, March 21–26, 2021. 

“From Retouching Photos to (Re)touching Moments.” The Attractions of the Moving Image: A Conference in Celebration of Tom Gunning, University of Chicago, October 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 Center, Queen’s University, December 10–11, 2013.

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