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

Books

  1. Hong, G-J. Taiwan Cinema: A Contested Nation on Screen.  Palgrave Macmillan, March, 2011.
  2. Hong, GJ. Taiwan cinema: A contested nation on screen.  paperback edition with expanded afterword Palgrave Macmillan US, January, 2011: 1-229. [doi]  [abs]

Papers Published

  1. G. Hong. "Limits of Visibility: Taiwan's Tongzhi Movement in Mickey Chen's Documentaries." positions: asia critique 21:3 (Summer, Summer, 2013): 683-701.
  2. Hong, GJ. "Voices and their discursive Dis/Content in Taiwan documentary." Frontiers of Literary Studies in China 7:2 (January, 2013): 183-193. [doi]  [abs]
  3. Hong, G. "Voice and Its Dis/Content in New Taiwan Documentary." Frontiers of Literary Studies in China  (2012).
  4. Hong, G. "Limits of Visibility: Taiwan’s Tongzhi Movement in Mickey Chen’s Documentaries." Positions: East Asia Cultures Critique  (2012).
  5. Hong, G. "Historiography of Absence: Taiwan Cinema before New Cinema 1982." Journal of Chinese Cinemas 4:1 (2010): 5-14.
  6. Hong, G-J. "From the Masses to the Masses." Visual Anthropology 22:1 (2009): 75-76.
  7. Hong, G-J. "Limits of Visibility: Taiwan’s Tongzhi Movement in Mickey Chen’s Documentaries." Positions: East Asia Cultures Critique  (2009).
  8. Guo Juin Hong,. "Meet Me in Shanghai: Melodrama and the Cinematic Production of Space in 1930s Shanghai Leftist Films." Journal of Chinese Cinemas 3:3 (2009): 215-230.
  9. G. Hong. "Framing Time: New Women and the Cinematic Representation of Colonial Modernity in 1930s Shanghai." positions: east asia cultures critique 15:3 (2007): 553-580.
  10. Hong, G. "Meet Me in Shanghai: Urban Cinema as Refugee Cinema in 1930s Shanghai." Cinema Journal  (2006).
  11. Hong, G. "Memorandum on Happiness or the Limits of Visibility: Taiwan's Tongzhi Movement in Mickey Chen's Documentary." Postions: East Asia Cultural Critique  (2006).
  12. Hong, G. "Framing Time: _New Women_ and the Cinematic Representation of Colonial Modernity in 1930s Shanghai." Positions: East Asia Cultural Critique  (2005).
  13. Hong, G. "Toying with History: Toys and Film Consumption/Criticism/ History." Chungwai Wenxue (Chung Wai Literary Monthly)  (September, 2002).
  14. Hong, G. "Strategies of Defiance: Towards a Thesis on Anti-Realist Documentary." Film Appreciation Journal :111 (Spring, 2002).

Papers Accepted

  1. G. Hong. "Meet Me in Shanghai: Urban Melodrama as Refugee Cinema in 1930s Shanghai." Journal of Chinese Cinemas  (2008).

Edited Volumes

  1. Hong, G. Theatrics of Cruising: Bath Houses and Movie Houses in Tsia Ming-Linag’s Films. Queer Sinophone CulturesRoutledge, 2013.
  2. Hong, G. Theatrics of Cruising: Bathhouses and Movie Houses in Tsai Ming-Liang’s Films. Sinophone Queer Reader, 2012.
  3. Hong, G. Healthy Realism in Taiwan, 1964-1980: Film Styles, Cultural Policies, and Mandarin Cinema. The Chinese Cinema BookBritish Film Institute, 2011.
  4. Hong, G. Theatrics of Cruising: Bathhouses and Movie Houses in Tsai Ming-Liang’s Films. Sinophone Queer Cinema, 2011.
  5. Hong, G-J. Island of No Return: Cinematic Narration as Retrospection in Wang Tong and New Taiwan Cinema. Futures of Chinese Cinema: Technologies and Temporalities in Chinese Screen CulturesIntellect, the University of Chicago Press, 2009: 57-72.
  6. Hong, G. Island of No Return: Cinematic Retrospection in Wang’s Taiwan Trilogy. Techologies of Temporality in Chinese Cinema, 2006.

Other

  1. with Hong, G. "The Chinese Film Theory." . University of Amsterdam Press, 2011.
  2. Simmons, C. "Salt Water." . Locus Publishing Company, Taipei, Taiwan, August, 2002. (G. Hong, translator)

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