Yiman Wang

Monograph

Remaking Chinese Cinema – Through the Prism of Shanghai, Hong Kong and Hollywood (Honolulu, HI: University of Hawaii Press, 2013) 

• Journal Articles:

      2012             “The Palimpsest Body and the S(h)ifting Border -- On Maggie Cheung’s Two Cross-over Films,” forthcoming in Positions: East Asia Cultures Critique 20.4 (Fall): 953-981.

       2010             “Yongyuan de Xuangong yanshi: ‘xizhuang yueju pian’ yu yixinghua chongpai” (永远的璇宫艳史: “西装粤语片” 与异性化重拍) (The Love Parade Goes on: “Western Costume Cantonese Opera Film” and Foreignizing Translation), trans. Gong Mengting, in Yingshi wenhua 影视文化 (Cinema & TV Culture) 3 (Nov.): 157-165.  

      2009                      “Made in China, sold in the United States, and vice versa – transnational ‘Chinese’ cinema between media capitals,” Journal of Chinese Cinemas 3.2: 163 – 176.  

      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. Reprinted in Yingjin Zhang, Mary Farquhar eds. Chinese Film Stars (Routledge, 2010), 19-31.

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

      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 (Summer): 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. 

          2000             “Chinese Box – Camera Box: on Wayne Wang’s 1997 film Chinese Box,” in Intersections: Gender, History and Culture in the Asian Context 3 (Jan. 2000) (peer-reviewed electronic journal).

•  Book chapters:   

2014        “Crisscrossing Stare in the Blocked Reception of Silent Cinema: Chinese Protest and Propaganda in the Not-so-silent Era,” in Jennifer Bean et. al. eds. Border Crossings: Silent Film and the Politics of Space (Bloomington, IN: Indiana University Press). 

                   “Alter-centering Sinophone Cinema,” Audrey Yue and Olivia Khoo eds. Sinophone Cinemas (Palgrave, 2014), 26-44.

 2013         “Remade in China: Cinema with ‘Chinese Elements” in the Dapian Age,” The Oxford Handbook of Chinese Cinemas (Carlos Rojas and Eileen Chow eds. 2013), 610-625. 

 2012          “Alter-centering Chinese Cinema: the Diasporic Formation,” in Yingjin Zhang ed. A Companion to Chinese Cinema (Wiley-Blackwell), 535-551.

                   “Affective Politics and the Legend of Yamaguchi Yoshiko/ Li Xianglan,” in Richard King et. al. eds. Sino-Japanese Transculturation Late Nineteenth Century to the End of the Pacific War (Rowman & Littlefield).

2011          “To Write or to Act, That Is the Question – The 1920s to 30s Shanghai Actress-Writers, and the Death of ‘New Woman’,” in Lingzhen Wang ed. Engendering Cinema: Chinese Women Filmmakers Inside and Outside China (Columbia University Press), 235-254.

 “Wartime Cinema: Reconfiguration and Border Navigation,” in Julian Ward and Song H. Lim eds. The Chinese Cinema Book (British Film Institute), 65-75. 

  2010           “‘They Are My Actors’ and ‘I Am One of Them’ -- Performing, Witnessing, and DV Image-making in the Plebian China,” in Chris Berry, Lü Xinyu, and Lisa Rofel eds. The New Chinese Documentary Film Movement: For the Public Record (Hong Kong University Press, 2010), 217-236.

                    “Anna May Wong: Toward Janus-Faed, Border-Crossing, ‘Minor’  Stardom,” in Patrice Petro ed. Idols of Modernity: Movie Stars of the 1920s (New Brunswick, NJ: Rutgers University Press, 2010), 159 – 181. 

 "City of Youth, Ocean of Death: Taiyozoku on the Edge of an Island,” in Yomi Braester and James Tweedie eds. Cinema at the City’s Edge: Film and Urban Networks in East Asia (Hong Kong University Press, 2010), 69-88.

 2008            “Remembering a Film and ‘Ruining’ a Film History – on Tian      Zhuangzhuang’s Remake of Springtime in a Small Town,” in Christina Lee ed. Violating Time: History, Memory, and Nostalgia in Cinema (New York: Continuum Books), 104-123.

2007             “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.), 326-340.

2003            “Crows and Sparrows: Allegory on a Historical Threshold,” in Chris Berry ed. Chinese Films in Focus: 25 New Takes (London: BFI, 2003), 65– 72 (Reprinted in Berry ed. Chinese Films in Focus II (New York:  BFI/Palgrave Macmillan, 2008).