2008 “The ‘Transnational’ as Methodology: Transnationalizing Chinese Film Studies through the Example of The Love Parade and Its Chinese Remakes,” Journal of Chinese Cinemas 2.1: 9 -- 21

“Anna May Wong: A Border-crossing ‘Minor’ Star Mediating Performance,” Journal of Chinese Cinemas 2.2: 91 – 102.

2007 “Screening Asia – Passing, Performative Translation, and Reconfiguration,” Positions: East Asia Cultures Critique (special issue entitled “What’s Left of Asia”) 15.2 (Fall 2007): 319 – 343.

(This article will also be translated into Chinese and included in a volume edited by a Beijing University professor, Han Yuhai.)

“A Star is Dead; A Legend is Born – Practicing Leslie Cheung’s Posthumous Fandom,” Sean Redmond et. al. eds. Stardom and Celebrity: A Reader (Sage Publications Ltd. 2007).

2005 "From the Indexical to the Spectacle – on Zhang Yimou’s Postmodern Turn in Not One Less,” Journal of Film and Video 57.3 (Fall): 3 -- 13.

“The Art of ‘Screen Passing’ – Anna May Wong’s ‘Yellow Yellowface’ Performance in the Art Deco Era,” Camera Obscura 20.3: 159 – 191.

“Li Xianglan / Yamaguchi Yoshiko and Pan-Asianism,” IIAS Newsletter 38 (Sept.): 7.

“The Amateur’s Lightning Rod: DV Documentary in Postsocialist China,” in Film Quarterly 58.4: 16 – 26.

“From Word to Word-image -- Film Translation of a “Sketchy” Chinese Short Story /Spring Silkworm,” Literature/Film Quarterly 33.1 (Jan.): 41 – 50.

2003 “The Phantom Strikes Back – Triangulating Shanghai, Hong Kong and Hollywood,” in Quarterly Review of Film and Video 21.4: 317 – 326.

“Crows and Sparrows: Allegory on a Historical Threshold,” in Chris Berry ed. Chinese Films in Focus: 25 New Takes (London: BFI, 2003), 65 – 72.