Publications of Guo-Juin Hong    :chronological  alphabetical  combined listing:

%% Books   
@book{fds293923,
   Author = {Hong, G-J},
   Title = {Taiwan Cinema: A Contested Nation on Screen},
   Publisher = {Palgrave Macmillan},
   Year = {2011},
   Month = {March},
   Key = {fds293923}
}

@book{fds293924,
   Author = {Hong, GJ},
   Title = {Taiwan cinema: A contested nation on screen},
   Series = {paperback edition with expanded afterword},
   Pages = {1-229},
   Publisher = {Palgrave Macmillan US},
   Year = {2011},
   Month = {January},
   ISBN = {9780230111622},
   url = {http://dx.doi.org/10.1057/9780230118324},
   Abstract = {© Guo-Juin Hong, 2011. A groundbreaking study of Taiwan
             cinema, Hong provides helpful insight into how it is taught
             and studied by taking into account not only the auteurs of
             New Taiwan Cinema, but also the history of popular genre
             films before the 1980s. The book is essential for students
             and scholars of Taiwan, film and visual studies, and East
             Asian cultural history.},
   Doi = {10.1057/9780230118324},
   Key = {fds293924}
}


%% Papers Published   
@article{fds222425,
   Author = {G. Hong},
   Title = {Limits of Visibility: Taiwan's Tongzhi Movement in Mickey
             Chen's Documentaries},
   Journal = {positions: asia critique},
   Volume = {21},
   Number = {3},
   Pages = {683-701},
   Year = {2013},
   Month = {Summer},
   Key = {fds222425}
}

@article{fds293922,
   Author = {Hong, GJ},
   Title = {Voices and their discursive Dis/Content in Taiwan
             documentary},
   Journal = {Frontiers of Literary Studies in China},
   Volume = {7},
   Number = {2},
   Pages = {183-193},
   Year = {2013},
   Month = {January},
   ISSN = {1673-7318},
   url = {http://dx.doi.org/10.3868/s010-002-013-0010-8},
   Abstract = {Instead of attempting to provide a survey of Taiwan
             documentary, this article focuses on a few critical moments
             in its long and uneven history and proposes a potentially
             productive site for understanding its formal manifestations
             of representational politics. By honing in on the uses of
             sounds and words, I show that the principle of a unitary
             voice-voice understood both as the utterances of sound and
             the politico-cultural meaning of such utterances-organizes
             the earlier periods of the colonial and authoritarian rules
             and shapes later iterations of and formal reactions to them.
             Be it voice-over narration or captions and inter-titles,
             this article provides a historiographical lens through which
             the politics of representation in Taiwan documentary may be
             rethought. Furthermore, this article takes documentary not
             merely as a genre of non-fiction filmmaking. Rather, it
             insists on documentary as a mode, and indeed modes, of
             representation that do not belong exclusively to the
             non-fiction. Notions of "documentability" are considered
             together with the corollary tendency to "fictionalize" in
             cinema, fiction and non-fiction. Taiwan, with its complex
             histories in general and the specific context within which
             the polyglossiac practices of New Taiwan Documentary have
             blossomed in recent decades in particular, is a productive
             site to investigate the questions of "sound" in cinematic
             form and "voice" in representational politics. © 2013 by
             Koninklijke Brill NV, Leiden.},
   Doi = {10.3868/s010-002-013-0010-8},
   Key = {fds293922}
}

@article{fds293920,
   Author = {Hong, G},
   Title = {Voice and Its Dis/Content in New Taiwan Documentary},
   Journal = {Frontiers of Literary Studies in China},
   Year = {2012},
   Key = {fds293920}
}

@article{fds293921,
   Author = {Hong, G},
   Title = {Limits of Visibility: Taiwan’s Tongzhi Movement in Mickey
             Chen’s Documentaries},
   Journal = {Positions: East Asia Cultures Critique},
   Year = {2012},
   Key = {fds293921}
}

@article{fds293925,
   Author = {Hong, G},
   Title = {Historiography of Absence: Taiwan Cinema before New Cinema
             1982},
   Journal = {Journal of Chinese Cinemas},
   Volume = {4},
   Number = {1},
   Pages = {5-14},
   Year = {2010},
   Key = {fds293925}
}

@article{fds293917,
   Author = {Hong, G-J},
   Title = {From the Masses to the Masses},
   Journal = {Visual Anthropology},
   Volume = {22},
   Number = {1},
   Pages = {75-76},
   Year = {2009},
   Key = {fds293917}
}

@article{fds293919,
   Author = {Hong, G-J},
   Title = {Limits of Visibility: Taiwan’s Tongzhi Movement in Mickey
             Chen’s Documentaries},
   Journal = {Positions: East Asia Cultures Critique},
   Year = {2009},
   Key = {fds293919}
}

@article{fds293926,
   Author = {Guo Juin Hong},
   Title = {Meet Me in Shanghai: Melodrama and the Cinematic Production
             of Space in 1930s Shanghai Leftist Films},
   Journal = {Journal of Chinese Cinemas},
   Volume = {3},
   Number = {3},
   Pages = {215-230},
   Year = {2009},
   Key = {fds293926}
}

@article{fds138899,
   Author = {G. Hong},
   Title = {Framing Time: New Women and the Cinematic Representation of
             Colonial Modernity in 1930s Shanghai},
   Journal = {positions: east asia cultures critique},
   Volume = {15},
   Number = {3},
   Pages = {553-580},
   Publisher = {Duke University Press},
   Editor = {Tani Barlow},
   Year = {2007},
   ISSN = {1067-9847},
   Key = {fds138899}
}

@article{fds293927,
   Author = {Hong, G},
   Title = {Meet Me in Shanghai: Urban Cinema as Refugee Cinema in 1930s
             Shanghai},
   Journal = {Cinema Journal},
   Year = {2006},
   Key = {fds293927}
}

@article{fds293928,
   Author = {Hong, G},
   Title = {Memorandum on Happiness or the Limits of Visibility:
             Taiwan's Tongzhi Movement in Mickey Chen's
             Documentary},
   Journal = {Postions: East Asia Cultural Critique},
   Year = {2006},
   Key = {fds293928}
}

@article{fds293918,
   Author = {Hong, G},
   Title = {Framing Time: _New Women_ and the Cinematic Representation
             of Colonial Modernity in 1930s Shanghai},
   Journal = {Positions: East Asia Cultural Critique},
   Year = {2005},
   Key = {fds293918}
}

@article{fds293930,
   Author = {Hong, G},
   Title = {Toying with History: Toys and Film Consumption/Criticism/
             History},
   Journal = {Chungwai Wenxue (Chung Wai Literary Monthly)},
   Publisher = {Graduate Institute of Foreign Languages, National Taiwan
             University, Taipei, Taiwan},
   Year = {2002},
   Month = {September},
   Key = {fds293930}
}

@article{fds293929,
   Author = {Hong, G},
   Title = {Strategies of Defiance: Towards a Thesis on Anti-Realist
             Documentary},
   Journal = {Film Appreciation Journal},
   Number = {111},
   Publisher = {National Film Archive, Taipei, Taiwian},
   Year = {2002},
   Month = {Spring},
   Key = {fds293929}
}


%% Papers Accepted   
@article{fds154453,
   Author = {G. Hong},
   Title = {Meet Me in Shanghai: Urban Melodrama as Refugee Cinema in
             1930s Shanghai},
   Journal = {Journal of Chinese Cinemas},
   Year = {2008},
   Key = {fds154453}
}


%% Edited Volumes   
@misc{fds305916,
   Author = {Hong, G},
   Title = {Theatrics of Cruising: Bath Houses and Movie Houses in Tsia
             Ming-Linag’s Films},
   Booktitle = {Queer Sinophone Cultures},
   Publisher = {Routledge},
   Editor = {Chiang, H and Heinrich, AL},
   Year = {2013},
   Key = {fds305916}
}

@misc{fds305917,
   Author = {Hong, G},
   Title = {Theatrics of Cruising: Bathhouses and Movie Houses in Tsai
             Ming-Liang’s Films},
   Booktitle = {Sinophone Queer Reader},
   Year = {2012},
   Key = {fds305917}
}

@misc{fds305919,
   Author = {Hong, G},
   Title = {Healthy Realism in Taiwan, 1964-1980: Film Styles, Cultural
             Policies, and Mandarin Cinema},
   Booktitle = {The Chinese Cinema Book},
   Publisher = {British Film Institute},
   Editor = {Lim, SH and Ward, J},
   Year = {2011},
   Key = {fds305919}
}

@misc{fds305920,
   Author = {Hong, G},
   Title = {Theatrics of Cruising: Bathhouses and Movie Houses in Tsai
             Ming-Liang’s Films},
   Booktitle = {Sinophone Queer Cinema},
   Year = {2011},
   Key = {fds305920}
}

@misc{fds305921,
   Author = {Hong, G-J},
   Title = {Island of No Return: Cinematic Narration as Retrospection in
             Wang Tong and New Taiwan Cinema},
   Pages = {57-72},
   Booktitle = {Futures of Chinese Cinema: Technologies and Temporalities in
             Chinese Screen Cultures},
   Publisher = {Intellect, the University of Chicago Press},
   Address = {Chicago},
   Editor = {Khoo, O and Metzger, S},
   Year = {2009},
   Key = {fds305921}
}

@misc{fds293914,
   Author = {Hong, G},
   Title = {Island of No Return: Cinematic Retrospection in Wang’s
             Taiwan Trilogy},
   Booktitle = {Techologies of Temporality in Chinese Cinema},
   Year = {2006},
   Key = {fds293914}
}


%% Other   
@misc{fds305918,
   Author = {G. Hong and Hong, G},
   Title = {The Chinese Film Theory},
   Publisher = {University of Amsterdam Press},
   Year = {2011},
   Key = {fds305918}
}

@misc{fds293916,
   Author = {Simmons, C},
   Title = {Salt Water},
   Publisher = {Locus Publishing Company, Taipei, Taiwan},
   Year = {2002},
   Month = {August},
   Key = {fds293916}
}