Brief Introduction Top

Education

1985-92     Department of East Asian Studies Doctor of Philosophy, Princeton University
                         Major field: Chinese Drama & Chinese Poetics
                         Minor fields: Chinese Fiction; Yuan Ming History
                         Dissertation: “A Critical Study of Han-tan Chi”
1988          Department of East Asian Studies Master of Arts, Princeton University
1982-86     Department of Chinese Ph.D. candidate, University of Hong Kong
1979-82     Department of Chinese Master of Philosophy, University of Hong Kong
1976-79     Department of Chinese Bachelor of Arts, University of Hong Kong

Teaching Areas Top

1. Classical Chinese literature
2. Traditional Chinese Drama
3. Print culture and Chinese literature
4. Graduate Research Seminar

Current Research Top

1. Soundscape and Sensation: Aural experience in late Ming drama
2. History of Chinese opera in Singapore, 1887-1960
3. Social history of Cantonese Opera: Institution and Network, 1900-1960
4. Pulp culture and Hong Kong cinema in the 1950s
5. Chinese dialect cinema, 1930-1960
   

Research Interests Top

1.Traditional Chinese drama in the 16th and 17th centuries
2.Anthropology of Chinese theater
3.History of Chinese opera in Singapore/Malaysia (1880-1965)
4.Cultural history of Cantonese opera/music (1900-1950)
5.Print culture and Chinese literature

Publications Top

BOOKS/MONOGRAPHS AUTHORED

• Anthropology of Chinese Drama: Ritual, Theatre and Community. (in Chinese) Taipei: Rye Field Publishing Company, 1997. Reprinted in 2003 by the Guangxi Shifandaxue Press.

  Cantonese Opera from the Gramophone: A Cultural History (1903-1953). (in Chinese) Hong Kong: Research Institute for Humanities, Chinese University of Hong Kong, Cosmos Press, 2006.

   

  
   
  

CHAPTERS IN BOOKS

• 1.                  “‘Close Encounters of the Third Kind’: Chinese Opera Record and Chinese Opera Study”, in Chen Zishan, Luo Gang (ed), Liwahe ban lun wenxue (Discussing literature at the River Liwa: a collection of essays) (Shanghai: East China Normal University Press, 2006), pp. 328-343.

   

  2.                  “Revaluating Liang Cibo in the Context of Cultural History of Cantonese Opera: From Xinguohua Troupe to Shengshounian Troupe (1923-1941)” in Lu Weiluan, Zhang Minhui (ed.) Wusheng wang Liang Ci Bo (The king of martial male role in Cantonese opera) (Hong Kong: Joint Publishing Company, 2006), pp. 48-85.

   

  3.                  “Celebrating Modern, Dazzling Sensation: Kong Ngee Movies and Urban Media”  in Wong Ainling (ed.), The Glorious Modernity of Kong Ngee (Hong Kong: Hong Kong Film Archive, 2006), pp. 22-35.

   

  4.                  “Moving Body: the Interactions between Chinese Opera and Action Cinema,” in Meaghan Morris, Siu-leung Li, 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.

   

  5.                  “Technology and Sensation: Impact of ‘Sound-Light-Chemistry-Electricity’ on Chinese Theater ” ，Li Shaoen (et al) (eds.), Xianggang xiqu de xiankuang yu qianzhan (Chinese Opera in Hong Kong: Presence and Preview)（Hong Kong: Cantonese Opera Research Project, Chinese University of Hong Kong, 2005）, pp. 349-372.

   

  6.                  “Synthesizing wen and wu, Fusing Ying and Yang: Yam Kim Fai’s Great Red Robe” in Mai Ke (ed), Yam Kim Fai: A Reader (Hong Kong: Hong Kong Film Archive, 2004), pp. 36-45.

   

  7.                  Producing Images; Constructing Identity: From the Southern Screen to Hong Kong Movie News , in Cheuk Pak Tong (et al) (eds), Shaw: The Empire of Chinese Cinema (Taipei: Rye Field Publishing Company, 2003). pp. 243-267.

   

  8.                  “The Worships of Patron Deities of Chinese Operas in Singapore,”, in Mei-rong Lin (ed.), Belief, Ritual and Society: Papers from the Third International Conference on Sinology: Anthropology Section (Taipei: Institute of Ethnology, Academia Sinica, 2003), pp. 397-426.

   

  9.                  “The Joy of Youth, Made in Hong Kong: Patricia Lam Fung and Shaw’ Cantonese Films,” in Wong Ain-ling (ed.) Shaoshi dianying chutan, (The movies of the Shaw Brothers: a preliminary study) (Hong Kong: Hong Kong Film Archive, 2003), pp.183-193. 

   

  10.               “Leisure, Pleasure and Consumption: Ways of Entertaining Oneself” (co-authored with Chan Kwok Bun), in Chan Kwok Bun, Tong Chee Kiong (eds) Past Times: A Social History of Singapore (Singapore: Times Editions, 2003), pp. 153-181.

   

   

  
   
  

EDITORIAL WORK ON BOOKS

• Shaw: The Empire of Chinese Cinema. (Taipei: Rye Field Publishing Company, 2003). (Co-edited with Liao Kin-feng, Cheuk Pak-tong, Fu Poshek).
   
  

ARTICLES IN JOURNAL

• 1. “Commodifying Cantonese Music: Qian Guangren and his New Moon Gramophone Company (1926-1936)” （1926-1936）, Journal of Oriental Studies，39:1 (2005): 3-20
  2. “Chinese Entertainment, Ethnicity, and Pleasure.” (co-authored with Chan Kwok-bun), Visual Anthropology, 18 (2005): 103-142.
  3. “Recording Cantonese Opera and Music in the 1920s and 1930s: from a Viewpoint of Cultural History” , Journal of Chinese Studies, NS 12 (2003): 473-502.
  4. “Gramophone Record Industry and the Cantonese Musical Culture (1903-1913),” Journal of Chinese Studies , NS 10 (2001): 511-538.
  5. “Recording Cantonese Opera during Guangxu period (1875-1908): the Cases of the
     Gramophone Company and Edison Company.” Lingnan Journal of Chinese Studies , NS 2 (2000): 241-260.