Publications

BOOKS/MONOGRAPHS AUTHORED

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  1.      Anthropology of Chinese Drama: Ritual, Theatre and Community.   戲曲人類學初探：儀式、劇場和社群   Taipei: Rye Field Publishing Company 麥田出版社, 1997.   Reprinted in 2003 by the Guangxi Shifandaxue Press 廣西師範大學出版社

  2.        Cantonese Opera from the Gramophone: A Cultural History (1903-1953).  粵韻留聲：唱片工業與廣東曲藝 （1903-1953）(Hong Kong: Institute for the Research of Humanities, Chinese University of Hong Kong, Cosmos Press, 2006).

  3.        From Opera Boat to Silver Screen: Visual and Sonic Culture of Cantonese Opera  尋覓粵劇聲影：從紅船到水銀燈 (Hong Kong: Oxford University Press, 2012).

  4.       Self-selected Essays of Chinese Drama Historians from China and Overseas: Yung Sai-Shing Volume 海內外中國戲劇史家自選集：容世誠卷 （Zhengzhou: Daxiang chubanshe 2018）.

   

CHAPTERS IN BOOKS

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  1. “Preliminary Reflections about the History of Chinese Opera of Hong Kong: Theater, Steamship, and Gramophone (1860-1911)”, in Wu Wan-yi (ed) Cross-Border, Exchange, and Transformation of Chinese Opera in the Early Twentieth Century, Department of Chinese Culture, (Hong Kong: Joint Publishing (Hong Kong) Company Ltd, 2022), pp. 5-29.
  2. “The Arrival of Sound; The Sound of War”: Ernst Lubitsch and Cantonese Opera Films in the 1930s”, in Kwok Ching-ling, May Ng (ed), Exploring Hong Kong Films of the 1930s-1940s, Part 2: Origins ‧ Genres ‧ Regions (Hong Kong: Hong Kong Film Archive, 2022), pp. 248-263.
  3. “Mulian Rescues His Mother: Play Structure, Ritual, and Soundscapes,” in How To Read Chinese Drama: A Guided Anthology, edited by Patricia Sieber and Regina Llamas (New York: Columbia University Press, 2022), pp. 349-366.
  4. “Taiping Theatre in the History of Cantonese Opera”, Victor Cheng (ed) Bonham Strand: East Meets West and South Meets West, (Hong Kong: Zhonghua Shuju, 2020), pp. 74-100.
  5.  “Bell Sound, New Moon, and Grand Vision: the Career of Qian Guangren, a Cantonese Music Entrepreneur ”鐘聲；新月；大觀：粵樂商家錢廣仁 ，Yan Jiajian (ed.) Diversity in Unity: Studies of Chinese Religion and Culture, A Festschrift in Honour of Dr Soo Khin Wah on His Sixtieth Birthday, (Sungai Buloh: The Malaya Press Sdn Bhd. 2017), pp. 154-175.
  6.  “The Cantonese Opera Enterprise of the Yuen Family: A Study of the Taiping Opera Troupes (1914-1932),” “一統永壽，祝頌太平”：源氏家族粵劇戲班經營初探 in Yung Sai-shing (eds),  A Study on the Taiping Theatre Collection (Hong Kong: Hong Kong Heritage Museum, 2015), pp. 134-153.
  7.  “One Chicken, Three Dishes: The Cultural Enterprises of Law Bun” (co-authored with Christopher Rea), in Christopher Rea and Nicolai Volland (eds), The Business of Culture: Cultural Entrepreneurs in China and Southeast Asia, 1900-65 (Vancouver, BC: UBC Press, 2015; Hong Kong: Hong Kong University Press, 2015) , pp. 150-177.
  8. “Incorporating into the Global Network: the Production and Circulation of Cantonese Opera Gramophone Records in Modern China (1903-1913)”, in Peng Hsiao-yen (ed.), Transcultural Practice: Modern Sinophone Literature and Culture (Taipei: Academia Sinica, 2014). 〈嵌入全球網絡：近代粵曲唱片的生産與傳播（1903-1913）〉，彭小妍 （編）《跨文化實踐：現代華文文學文化》 （台灣：中央研究院，2014），頁99-120。
  9. “‘A Native Sound is Worth a Million’: The Interaction between China-Hong Kong-Southeast Asia in the Chaozhou-dialect Film Industry during the 1960s, “鄉音抵萬金”：六十年代潮劇電影工業的三地互動” May Ng (ed.), The Chaozhou-dialect Films of Hong Kong 香港潮語電影尋跡 (Hong Kong: Hong Kong Film Archives, 2013), pp. 60-72.
  10.  “The Performance Contexts of Han-tan chi,” (trans. Bai Junfang) 邯鄲記的表演場合 in Xu Yongming and Tian Yuan Tan (ed.), An Anthology of Critical Studies on Tang Xianzu in Western Scholarship (Hangzhou: Zhejiang guji chubanshe, 2013), pp. 330-349.
  11. (Co-authored with Shaun Choh, Trans Morita Kenji), “Mass Entertainment and National Building: a Preliminary Study on the History of Chinese Broadcasting of Singapore (1945-1969)” in Shin Kawashima, Takumi Sato, Mamie Misawa (ed), Denpa den'ei denshi : gendai higashiajia no rensa suru media (電波・電影・電視 : 現代東アジアの連鎖するメディア) (Tōkyō : Seikyūsha, 2012), pp. 186-208.
  12. “Heading to King’s Road: the Geography and Network of Hong Kong Amoy Movie,” 告別桃花鄉，步向英皇道：香港廈語片的地理表述 May Ng (ed), Exploring Amoy-dialect Cinema of Hong Kong 香港廈語電影訪縱 (Hong Kong: Hong Kong Film Archive, 2012), pp. 76-87.
  13. “Reforming Cantonese Cinema and Cantonese Opera of Hong Kong in the 1950s: Between ‘The Union Film’ and ‘Xianfengming Troupe’” 在“中聯”和“仙鳳鳴”之間：五十年代香港電影和粵劇的改革工程, Grace Ng (ed), One for All: The Union Film Spirit 我為人人：中聯的時代印記　(Hong Kong: Hong Kong Film Archive, 2011), pp. 36-47.
  14. “A Journey of the Returning Soul: Tang Xianzu, Bai Xuexian, and Bai Xianyong”, “還魂之旅”：湯顯祖、白雪仙、白先勇 Hua Wei (ed) , Kunqu: Chun San Er yue tian 昆曲-春三二月天 (Kun Opera: The Second and Third Month of Spring) (Shanghai: Shanghai Guji Chubanshe, 2009) , pp. 516-530.
  15.  “Yam Kim Fai in the Era of All-Female Troupes: A Critical Study on two Cantonese Opera Artifacts from the Taiping Theatre Collection”, 女班時期的任劍輝: 太平戲院文物資料閱讀扎記, Wong Shiu-hon (ed), Ren Jianhui : (Yam Kim Fai, 1913-1989) : Portrait of a Chinese Opera Performance Prodigy ）長天落彩霞——任劍輝的劇藝世界  (Hong Kong: Hong Kong Joint Publisher, 2009), vol 1, pp. 136-153.
  16. “Cantonese Opera Writing and Nationalism: Re-interpreting the Everlasting Zhang Yuqiao, the Most Respectable Courtesan”, 粵劇書寫與民族主義：芳腔名劇《萬世流芳張玉喬》的再詮釋, in Hoyt Tillman (ed) In Pursuit of Culture and History: Essays in Celebrating the 80th Birthday of Professor Yu Ying-shih 文化與歷史的追索：余英時教授八秩壽慶論文集　(Taipei: Lian Jing Chubenshe, 2009), pp. 879-904.
  17.   “Territorialization and the Entertainment Industry of the Shaw Brothers in Southeast Asia”, in Poshek Fu (ed.) China Forever: The Shaw Brothers and Diasporic Cinema (Urbana and Chicago: University of Illinois Press, 2008), pp. 131-153.
  18.  “From Shanghai Pulp to Hong Kong Movie: Universal Publisher and the Huang Ying Stories” 從偵探雜誌到武打電影：“環球出版社”與女飛賊黃鶯 in Jiang Jin (ed.) Popular Culture of the Modern Metropolis (Shanghai: East China Normal University Press, 2007), pp. 323-344.
  19. “‘Close Encounters of the Third Kind’: Chinese Opera Record and Chinese Opera Study”, 第三類型接觸，第三類型戯曲：戯曲唱片與戯曲研究 in Chen Zishan, Luo Gang (ed), Liwahe ban lun wenxue 麗娃河畔論文學 (Discussing literature at the River Liwa: a collection of essays) (Shanghai: East China Normal University Press, 2006), pp. 328-343.
  20.  “Moving Body: the Interactions between Chinese Opera and Action Cinema,” in Meaghan Morris, Siu-leung Li and Stephen Chan Ching-kiu (eds.), Hong Kong Connections: Transnational Imagination in Action Cinema (Durham: Duke University Press; Hong Kong: Hong Kong University Press, 2005), pp. 21-34.
  21.  “The Worships of Patron Deities of Chinese Operas in Singapore,” 新加坡華族戲曲的戲神崇拜, in Mei-rong Lin (ed.), Belief, Ritual and Society: Papers from the Third International Conference on Sinology: Anthropology Section 《信仰、儀式與社會：第三屆國際漢學會議論文集：人類學組》 (Taipei: Institute of Ethnology, Academia Sinica, 2003), pp. 397-426.
  22. “Leisure, Pleasure and Consumption: Ways of Entertaining Oneself” (co-authored with Chan Kwok Bun), in Chan Kwok Bun, Tong Chee Kiong (ed.) Past Times: A Social History of Singapore (Singapore: Times Editions, 2003), pp. 153-181.

   

EDITORIAL WORK ON BOOKS

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  1. A Study on the Taiping Theatre Collection 戲園·紅船·影畫：源氏珍藏“太平戲院文物”研究 (Hong Kong: Hong Kong Heritage Museum, 2015). (341 pages)

  (ISBN 978-962-7213-82-6)

  2. "Always in Our Hearts”: Left-Wing Patriotic Organizations in Cold War Hong Kong. 胸懷祖國：香港“愛國左派”運動 (Hong Kong: Oxford University Press, 2014). (co-edited with Stephen Chiu Wing-kai, and Lui Tai-lok) (196 pages)

  3. Ming-Qing Studies: Examinations of Current Progress and Reflections on Methodology 明清研究 ：現狀的探討與方法的反思 (Hong Kong: Hong Kong Educational Publishing Company, 2006). (co-edited with Lee Cheuk-yin, Yeo Song Nian) (240 pages)

  4. Shaw: The Empire of Chinese Cinema.邵氏影視帝國：文化中國的想象 (Taipei: Rye Field Publishing Company 2003) (co-edited with Liao Kin-feng, Cheuk Pak-tong, Fu Poshek). (355 pages)

ARTICLES IN JOURNALS

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  1.  “Chinese Opera in Hong Kong as Reflected in the Tung Wah Hospital’s Zhengxin Lu (Annual Report): The Emergence of a New Market （1877-1911）” 香港東華醫院《徵信錄》演劇史料考析：一個戲曲市場的興起（1877-1911），HKU Journal of Chinese Studies, 香港大學中文學報 1:1 (February 2023), pp. 89-112. 

  2. “Commercial Opera Theaters of Hong Kong (1865-1910): From the Perspective of Social History” 香港戲曲史上的商業戲園 （1865-1910）, in Journal of Chinese Ritual, Theatre and Folklore (民俗曲藝, Min-su ch’ü-i) (Special Issue on "City Space, Material Culture and Theatrical Development), 199 (March 2018), pp. 177-211.

  3.   “The Theatrical World Published by the Kaixishiye: Re-examining the Cantonese Operatic Culture of the 1920s” 開戲師爺的《戲劇世界》： 二十年代粵劇文化再探. Journal of Chinese Studies 中國文化研究所學報, 64 (January 2017) : 235-253.

  4.  “The ‘Eight Masterpieces’ in the Cantonese Musical Tradition: ‘Pure Singing’, ‘River Tune’, and ‘Waijiang Opera’” 粵樂“八大曲” 初析： 戲曲清唱、珠江河調、廣東漢劇. Cultural Heritage 文化遺產, 2016 (3): 9-15.

  5. “Yam Kim Fai and the Taiping Yanying All-female Troupe of 1939: Revisiting the Taiping Theatre Collection“ 1939年“太平艷影”女班台柱任劍輝：“太平戲院”文物資料閲讀扎記之二. Journal of Yam Kim Fai Studies 任劍輝研究學報, 1 (January 2013): 16-27.

  6.  “Cantonese Opera Songs and Hong Kong Pleasure Houses of Late Qing”, 晚清香港妓院與廣東曲藝  Lingnan Journal of Chinese Studies 嶺南學報, NS 3 (2006): 339-341.

  7.  “Commodifying Cantonese Music: Qian Guangren and his New Moon Gramophone Company (1926-1936)”.  從業餘樂社到粵樂生産：錢廣仁及其新月留聲機唱片公司 （1926-1936）, Journal of Oriental Studies 東方文化，39:1 (2005): 3-20.

  8.  “Chinese Entertainment, Ethnicity, and Pleasure”. (co-authored with Chan Kwok-bun), Visual Anthropology, 18: 2-3 (March-June, 2005): 103-142.

  9.    “Recording Cantonese Opera in the 1920s and 1930s: from a Viewpoint of Cultural History”.  二三十年代的粵曲唱片與唱片粵曲：一個音樂文化史的觀察, Journal of Chinese Studies  中國文化研究所學報, NS 12 (2003): 473-502.

  10.    “Gramophone Record Industry and the Cantonese Musical Culture (1903-1913)”.  清末民初的粵樂唱片業與廣東曲藝（1903－1913） Journal of Chinese Studies, NS 10 (2001): 511-538.

  11   “Myth and Ritual in Pei-tou hsi,”. 北斗戲的神話與儀式  Bulletin of the Institute of Ethnology  民族學研究所集刊, Academia Sinica, 79 (Spring 1995): 63-86.

Conference/Workshop Organization

1. International Conference “Asian Diasporas: Transnational and Regional Cultural Heritage(s)”, Cultural Academy, National Heritage Board, Singapore, 18 February 2017.

2. International Conference “Plum Flowers in a Chaotic World of Water: The Production and Circulation of Hong Kong Pulp Fiction in the 1940s and 1940s” held in Lingnan University, 13-14 December 2013. 

3. The second workshop on “Hong Kong Taiping Theatre: the Entertainment Enterprise of the Yuen Family”, held in Hong Kong Heritage Museum, 15 April 2013.

4. A Workshop on “Hong Kong Taiping Theatre: the Entertainment Enterprise of the Yuen Family”, held in Hong Kong Lingnan University, 8 December 2012.

5. An International Workshop on “Sounds Chinese: Performance, Commodification, and Interpretation”, organized by Department of Chinese Studies, NUS, 15-17 December 2008.

6.  “An International conference on Cantonese Opera,” Department of Music, Chinese University of Hong Kong, and Hong Kong Arts Development Council, HKSAR, 5-9 September 2007.

7. “Cold War Factors in Hong Kong Cinema,” Centre of Asian Studies, University of Hong Kong and Hong Kong Film Archive, 27-29 October 2006.

8. An International conference on “Shaw Enterprise and Asian Urban Culture: Interdisciplinary Studies and Cross-regional Comparison,” Department of Chinese Studies, NUS. 26-28 July 2001.

9. “An International Conference on Ming Qing Studies: Review and Overview,” Centre for Research in Chinese Studies, Department of Chinese Studies, NUS. 27-29 July 2000.