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| Title | Author(s) | Issue Date | |
|---|---|---|---|
Images of activism in Hong Kong women's cinema Proceeding/Conference:Visible Evidence Conference | 2014 | ||
Introduction: A Companion To Hong Kong Cinema Book:A Companion To Hong Kong Cinema | 2015 | ||
Feminist Frames/Small Screens/Burning Desires: Hong Kong women’s perspectives on sex in the HKSAR Proceeding/Conference:Console-ing Passions International Conference on Television, Video, Audio, New Media and Feminism, CP-23 | 2015 | ||
Hong Kong women filmmakers and film festivals Proceeding/Conference:1st Global Creative Industries Conference | 2015 | ||
Umbrella Feminism: women occupy Hong Kong screens Proceeding/Conference:Meeting on Women, Gender, and Efforts for Equality: Comparative Asian-Western Perspectives | 2015 | ||
Women occupy Hong Kong screens: feminism, media activism, and the Umbrella Moment Proceeding/Conference:Symposium on the Gendered Politics of Production: Girls and Women as Media Producers | 2015 | ||
Hong Kong as feminist method: analyzing gender/sexuality in films by women in the HKSAR Proceeding/Conference:International Conference on Hong Kong as Method | 2014 | ||
Authentic Digital Assessment: Online Conversations Proceeding/Conference:Half-Day Virtual Forum: Online T&L 2019-2020: The HKU Experience | 2020 | ||
Using a Massive Open Online Course (MOOC) in a Crisis Proceeding/Conference:Teacher Experience Sharing Session, Chinese University of Hong Kong (via Zoom) | 2020 | ||
Sylvester Stallone and John Rambo’s Trek across Asia: Politics, Performance and American Empire Book:The Ultimate Stallone Reader: Sylvester Stallone as Star, Icon, Auteur | 2014 | ||
Women as Cultural Intermediaries within the Chinese Diaspora: The Search for Esther Eng in S. Louisa Wei’s Golden Gate Girls (2013) Proceeding/Conference:The Cultural Intermediaries in the East Asian Film Industries Conference | 2019 | ||
LIKE A DREAM: Asian American Masculinity and Transnational Chinese Cinema Proceeding/Conference:Annual Conference of the American Studies Network, USCET-ASN 2013 | 2013 | ||
Women as sex workers in two HKSAR films: Herman Yau and Elsa Chan (Yeeshan)’s Whispers and Moans and True Women for Sale Proceeding/Conference:International Conference on Global Capitalism, Socialist Markets, and Feminist Interventions | 2014 | ||
Brecht in Hong Kong Cinema: Ann Hui’s Ordinary Heroes (1999) Proceeding/Conference:International Congress of the International Federation for Modern Languages and Literatures, FILLM 2014 | 2014 | ||
Clara Law's RED EARTH: the HKIFF and the cultural politics of the sponsored short Proceeding/Conference:Chinese Film Festival Studies Conference | 2014 | ||
HKSAR women filmmakers' images of activism Proceeding/Conference:Post-Asia Film, Media and Popular Culture Conference | 2014 | ||
Hong Kong women filmmakers' visions of the 21st century Proceeding/Conference:Symposium on Envisioning Chinese Cinemas in the 21st Century | 2013 | ||
Hong Kong women filmmakers: working beyond the nation Proceeding/Conference:Conference on Transnational Cinema/Media Studies | 2014 | ||
Gender Politics and History: Ann Hui's The Postmodern Life of my Aunt Proceeding/Conference:Symposium and International Videoconference on 'Transnational East Asian Cinema since 1997' | 2008 | ||
Bicycle thieves and pickpockets: transnational Chinese cinema, postmodernism, and the transcendental style Proceeding/Conference:International Symposium on 'Cross-cultural Perspectives on the current state of East Asian Cinemas' | 2008 | ||
“Making the Most of a MOOC: Hong Kong Cinema through a Global Lens” Proceeding/Conference:University of Nottingham, Institute for Screen Industries, Lecture | 2018 | ||
Introduction and Discussion, “Directors Mabel Cheung and Alex Law in Conversation: Making Films Inside and Outside Hong Kong” Proceeding/Conference:University of Nottingham, Institute for Screen Industries, Lecture | 2018 | ||
Haunted by Hollywood: Hong Kong Noir, Horror, and RUNNING ON KARMA Proceeding/Conference:Symposium on Haunting and Globalization: Symptoms of the Present | 2011 | ||
Flexible Masculinities and the Rush Hour Franchise: The Asian Body, the American Male, and Global Hollywood Book:Millennial Masculinity: Men in Contemporary American Cinema | 2013 | ||
Feminist activism in the first person: an analysis of Nanfu Wang's Hooligan Sparrow (2016) Journal:Studies in Documentary Film | 2020 |