
tsktan@um.edu.mo
Tel
(853) 8822 8993
Office
E21-4063
Consultation Hours
For Semester 1, Academic Year 2020/21:
Mondays: 3 pm to 6 pm
Wednesdays: 2 pm to 5 pm
TAN, See Kam
陳時鑫
Introduction
Tan See Kam presently works and researches at the University of Macau. Since joining this university in 2002, he has been affiliated with FSH-Department of English (2002-2007) and then FSH/FSS-Department of Communication (2007-2012). In 2012 he rejoined the English Department (now under FAH) as Associate Professor of Film Studies. Between 1997-2002, he was an assistant professor at the Nanyang Technological University, Singapore. He was a lecturer at the Flinders University of South Australia (1995-1997) where he was the honours co-ordinator of its Screen Studies programme.
Education
MA/PhD in English: The University of Melbourne, Australia, specializing in film, communication and cultural studies.
BA (hons.) in Cinema Studies: La Trobe University, Australia.
BA in Communication Studies: Murdoch University, Australia.
Research Interests
His main research interests are in the interdisciplinary area of film, gender and postcolonial studies with a particular focus on Chinese-language cinemas and Sinophone cultural formations. He has published one monongraph and co-edited four books on Hong Kong cinema within transnational contexts. He has published essays in top academic journals in his field, including Asian Cinema, Jumpcut: A Review of Contemporary Media, Screen, The Asian Journal of Social Science, TV and New Media, and Social Semiotics. Some of his work has been reprinted; others translated in Chinese and published in China’s core academic journals such as Arts Criticism 《文艺评论》, Film Art《电影艺术》and Contemporary Cinema 《當代電影》 .
Research and Other Grants at UM (Totalling MOP3.6 million approxiamtely), including:
- 2018-21: UM Multi-year Research Grant: The Nanjing Massacre Project (MOP1.08 million)
- 2015-18: UM Multi-year Research Grant: Sinophone Cinema: Hong Kong, Macau, Singapore (MOP460K)
- 2014: RDAO Conference Organizing Grant (MOP 100K)
- 2012-15: UM Multi-year Research Grant: Media Communication: Popular Media and Creative Industries in China (MOP400K)
- 2011-2014: UM Postgraduate Studentship (PhD) (MOP 342K; 3 years)
- 2010-2013: UM Postgraduate Studentship (PhD) (MOP 342K; 3 years)
- 2010: UM Research Committee Grant: Revisiting and Reconstructing a Mass Culture: Revolutionary Model Opera Films (MOP 72,650)
- 2009-2012: UM Postgraduate Studentship (PhD) (MOP 342K; 3 years)
- 2008-2009: UM Research Committee Grant: Cyber-dates, Personal Ads. & Chatrooms (MOP60K)
- 2007: UM Research Committee Grant: US Sitcom and Audience in South China (MOP 40,400)
Invited Workshop/Talks/Roundtable
- (2017). Film, Literature and Social Justice. (UM).
- (2014). Chinese Film Festivals. Hong Kong University.
- (2014). Shaw Brothers Goes Global. Distinguished Speakers Series (National Chiao Tung University, Taiwan).
- (2014). Tsui Hark’s Peking Opera Blues. Distinguished Speakers Series (National Chiao Tung University, Taiwan).
- (2014). Chinese Language Melodrama: The “Three-women” Film. Distinguished Speakers Series (National Tsing Hua University, Taiwan).
- (2012). Hong Kong Cinema: Post-war Thrillers. Distinguished Speakers Series (United International College, Hong Kong Baptist University-Zhuhai Campus, PRC)
- (2010). Space as Performance: The Case of Raise the Red Lantern and 12 Storey. The Performing Space in Asian Film Workshop: Interdisciplinary Perspectives. Singapore: Asian Research Institute, National University of Singapore.
- (2009). Creative Industries in Macau, Digital Hollywood, Digital China Symposium. PRC: University of Nottingham, Ningbo.
- (2006). “I Grew Up in a Colonial Environment”: A Study of Tsui Hark’s Early Films. The Asia’s Future Initiative Forum. Gwangju, Korea.
- (1996). The Burdens of Mandom: Masculinities in John Woo’s Films, Masculinity/speed/violence: Deterritorialising Hong Kong Action Movies. Australia: Edith Cowan University, Perth.
Courses Regularly Taught
He has taught both undergraduate and postgraduate courses, offering a wide array of courses that runs the gamut of introduction to film studies, global cinema, theories of mass communication and digital video production.
He has successfully supervised 4 PhD and 12 MA theses to completion in the general areas of film, media and popular culture studies. He also accepts Final Year Honours Thesis supervision from the UM Honours College.
He has organized numerous international conferences, including:
- the 12th ACSS Conference: The Poetics of Cinema. (Lancaster, UK: University of Lancaster, 10-12 July 2017).
- The 11th ACSS Conference: Post-Asia Film, Media and Popular Culture (Macau SAR, China: 14-16 July 2014).
- The 10th ACSS International Conference: Asian Cinema and Media, Hong Kong University (May 2012)
He has served as juror/ invited speaker at film festivals (local, regional and national), as well as organizing film festivals on campus, including:
- 2010: The 7th China Excellent Films Show Forum, UM.
- 2009: The 6th China Excellent Films Show Forum, UM.
- 2007: The Inaugural Asian American Film Festival, UM.
- 2005: The 12th European Film Festival, UM.
- 2004: The Beijing-Macao Teen Films (京澳青年电影交流会), in conjunction with Central Academy of Drama (中央戏剧学院), Beijing.
He is Chair of the Asian Cinema Studies Society (ACSS): https://www.facebook.com/groups/1412032349032041/
He is Chief Editor of Asian Cinema, published by Intellect Press (UK): http://www.intellectbooks.co.uk/journals/view-Journal,id=219
Associate Fellow (International Partner), International Postgraduate Program (IPP) Faculty, Johannes Gutenberg-Universitȁt Mainz, Germany. (since 2015) http://www.performedia.uni-mainz.de/91_DEU_HTML.php
He has been a Visiting Fellow to the Creative Industries Faculty, Queensland University of Technology, Australia. (2012)
He is a member of the Editorial Board of East Asian Journal of Popular Culture, Intellect Press (UK): http://www.intellectbooks.co.uk/journals/view-Journal,id=238/view,page=3/
He is a book/journal manuscript reviewer for Brill, Hong Kong University Press, Indiana University Press, Oxford University Press and Palgrave Macmillan, including top-class scholarly journals such as Asian journal of communication, Chinese journal of communication, Asian studies review, Intervention: Journal of postcolonial studies and Screen.
He is an external reviewer for the Research Grants Council (RGC) of Hong Kong.
- 2018: Fifteen Years Long Service Award, University of Macau
- 2014: 《澳門人 .澳門事》:星光夢旅人— 陳時鑫 (第738集) (澳門廣播電視 )
To commemorate the station’s 30th anniversary, TDM (Teledifusāo de Macau) commissioned a special documentary series for its weeknightly current affairs programme, “Macao People, Macao Affairs”. This series looks at five long-time naturalized residents of Macao. The episode about me was called “Tan See Kam—The Journey Of A Stardust Dreamer” (Episode 738). http://www.tdm.com.mo/c_video/play_video.php?id=17848 The other four episodes were variously devoted to a Mexican Priest, a Portuguese restauranteur, an African engineer, and a Taiwanese artist.
- 2012: Ten Years Long Service Award, University of Macau.
- 2011:Best Coach Award for Student Participant Dang Hao, Public Speech Competition, Foreign Language Teaching and Research Press (FLTRP), Beijing.
- 2006: 2nd Prize Winner of Best Faculty Paper, titled “I Grew Up In A Colonial Environment”: A Study of Tsui Hark’s Early Films,” The Asia’s Future Initiative Forum (Gwangju, Korea).
Books
- (2018; co-edited). The Palgrave Handbook of Asian Cinema, with Aaron Park-Magnon and Gina Marchetti. London: Palgrave MacMillian.
- (2016; sole author). Tsui Hark’s Peking Opera Blues. Hong Kong: Hong Kong University Press. 229 pages.
- (2011; co-edited). Hong Kong screeenscapes: From the New Wave to the Digital Frontier, with Esther Cheung and Gina Marchetti. Hong Kong: Hong Kong University Press. 296 pages.
- (2009; co-edited). Chinese Connections: Critical Perspectives on Film, Identity and Diaspora, with Peter X Feng and Gina Marchetti. Philadelphia: Temple University Press. 311 pages.
- (2007; co-edited). Hong Kong Film, Hollywood and the New Global Cinema: No Film is An Island, with Gina Marchetti. New York/London: Routledge Curzon.
Book chapters
- (2018). The Roads to Global Hollywood: Shaw Brothers, Golden Harvest, and Wanda Pictures. In Park-Magnon, et al., ed., Palgrave Handbook of Asian Cinema. London: Palgrave.
- (2013). Global Hollywood, Narrative Transparency, and Chinese Media Poachers: Narrating Cross-Cultural Negotiations of Friends in South China. In Michael Keane and Wanning Sun, eds., Chinese Media, Vol. IV (London: Routledge), ch. 73. [reprint]
- (2011). Surfing with the Surreal in Tsui Hark’s Wave: Collage Practice, Hybrid Texts and Flexible Citizenship. In Cheung et al., ed. Hong Kong Screenscapes (Hong Kong: Hong Kong University Press), pp. 33-50.
- (2009). Singapore as a society of strangers: Eric Khoo’s Mee Pok Man, 12 Storeys and Be with Me. In Tan et al,, ed. Chinese Connections: Film, Identity and Diaspora (Philadelphia: Temple University Press), pp. 205-19.
- (2008). The love eterne: Almost a (heterosexual) love story. In Chris Berry, ed. Chinese Films in Focus II (pp. 160-67). New York: Palgrave Macmillan; [originally published in C. Berry, ed. Chinese Films in Focus: 25 New Takes (pp. 137-43). London: bfi Publishing, 2003].
Journal Articles
- (2015). Shaw Brother’s Bangpian: Global Bondmania, Cosmopolitan Dreaming and Cultural Nationalism. Screen Vol. 56, No. 2: 195-213. (A&HCI, double blind-reviewed)
- (2013). Melancholia and melancholizing in fengyue (erotic) movies: Intimate Confessions of a Chinese Courtesan and Lust for Love of a Chinese Courtesan. Screen Vol. 54, No. 1: 82-103. (A&HCI; double blind-reviewed).
- (2011). Global Hollywood, Narrative Transparency, and Chinese Media Poachers: Narrating Cross-Cultural Negotiations of Friends in South China. Television and New Media, Vol. 12, No. 3: 207-228. (AC&HI; SSCI: double blind-reviewed).
Translated Work
- (2007).〈新加坡电影业:发展、困境与挑战〉. Trans. Liu Hui. Film art《电影艺术》 (北京 Beijing), 第315/4期, 第111-115页。[CSSCI]
- (2005).〈60年代凌波的黄梅调电影:分析其反儒家意志以及跨越性别性欲慨念〉. Trans. Liu Hui. Contemporary cinema《当代电影》(北京 Beijing), 第129/6期, 41-47页。[CSSCI; A Special Issue on 100 Years of Chinese Cinema].
Books
- (2016; sole author). Tsui Hark’s Peking Opera Blues. Hong Kong: Hong Kong University Press; monograph; sole author).
- (2011; co-edited). Hong Kong screeenscapes: From the New Wave to the digital frontier, with Esther Cheung and Gina Marchetti. Hong Kong: Hong Kong University Press.
- (2009; co-edited). Chinese connections: Critical perspectives on film, identity and diaspora, with Peter X Feng and Gina Marchetti. Philadelphia: Temple University Press. [Received partial funding from the Chiang Jin-Kuo Foundation].
- (2007; co-edited). Hong Kong film, Hollywood and the new global cinema: No film is an island, with Gina Marchetti. New York/London: Routledge Curzon. [Reissued in paperback and Kindle editions, 2009].
Book Chapters
- (2013; reprint). Global Hollywood, Narrative Transparency, and Chinese Media Poachers: Narrating Cross-Cultural Negotiations of Friends in South China. In Michael Keane and Wanning Sun, eds., Chinese Media, Vol. IV (London: Routledge), ch. 73.
- (2011). From The love eterne to lustful confessions of the Chinese courtesan: A queer study of Saw Brothers’ qiqing films 《从〈梁祝〉to 〈爱奴新传〉:邵氏奇情片的酷儿阅读》(with Jiang Wei). In Fu Poshek and Liu Hui, ed. Hong Kong in “China”: Shaw Brothers cinema《香港在“中国”—邵氏电影》. Hong Kong: Oxford University Press. 7
- (2011). Surfing with the surreal in Tsui Hark’s wave: Collage practice, hybrid texts and flexible citizenship. In Cheung et al., ed. Hong Kong screenscapes (pp. 33-50). Hong Kong: Hong Kong University Press.
- (2011). Introduction (with E. Cheung and G. Marchetti). In Cheung et al., ed. Hong Kong screenscapes (pp. 1-14). Hong Kong: Hong Kong University Press.
- (2011). Interview with Ann Hui: on the edge of the mainstream (with E. Cheung and G. Marchetti). In In Cheung et al., ed. Hong Kong screenscapes (pp. 67-74). Hong Kong: Hong Kong University Press.
- (2009). Introduction (with P. Feng and G. Marchetti). In Tan et al., eds. Chinese connections (pp. 1-8). Philadelphia: Temple University Press.
- (2009). Singapore as a society of strangers: Eric Khoo’s Mee Pok Man, 12 Storeys and Be with Me. In Tan et al., eds. Chinese connections (pp. 205-19). Philadelphia: Temple University Press.
- (2008). Singapore (with J. Fernandos). In Hjort and Petrie, ed. The cinemas of small nation (pp. 127-43). Edinburgh: Edinburg University Press; also Bloomington: Indiana University Press.
- (2008). The love eterne: Almost a (heterosexual) love story (with A. Aw). In Chris Berry, ed. Chinese films in focus II (pp. 160-67). New York: Palgrave Macmillan; [originally published in C. Berry, ed. Chinese films in focus: 25 new takes (pp. 137-43). London: bfi Publishing, 2003].
- (2007/2009). Introduction: Hong Kong cinema and global change (with G. Marchetti). In Marchetti and Tan, ed. Hong Kong film, Hollywood and the new global cinema (pp. 1-12). London/New York: Routledge.
- (2007/2009). From South Pacific to Shanghai blues: No film is an Island. In Marchetti and Tan, ed., Hong Kong film, Hollywood and the new global cinema (pp. 13-34). London/New York: Routledge.
- (2004). A grounded theory approach: Guanxi, public relations and Singapore’s Chinese business community (with A. Aw & M. Tan). In James Leigh and Eric Loo, ed. Outer limits: a reader in communication across cultures (pp. 95-118). Melbourne: Language Australia.
- (2003). Chinese diasporic imaginations in Hong Kong films: Sinicist belligerence and melancholia. In Esther M.K. Cheung and Chu Yiu-wai, ed. Between home and world: A reader in Hong Kong Cinema (pp. 47-76). Oxford: Oxford University Press. [Originally published in Screen 42.1 (Spring 2001): pp. 1-20].
- (2000). The cross-gender performances of Yam Kim-Fei, or the queer factor in postwar Hong Kong Cantonese opera/opera films. In Andrew Grossman, ed. Queer Asian cinema: Shadows in the shade (pp. 201-11) Binghamton, New York: Harrington Park Press; also printed in Journal of homosexuality (2000): pp. 201-211.
Journal Articles
- (2015). Shaw Brother’s Bangpian: Global Bondmania, Cosmopolitan Dreaming and Cultural Nationalism. Screen Vol. 56, No. 2: 195-213. (A&HCI, double blind-reviewed)
- (2013). Of goats, lambs, sheep and wolves: Chinese animation and cultural industries, with Xu Xiaying and Jiang Wei. Asian Cinema Vol 24. No.2: 239-258. (double blind-reviewed)
- (2013). Melancholia and melancholizing in fengyue (erotic) movies: Intimate Confessions of a Chinese Courtesan and Lust for Love of a Chinese Courtesan. Screen Vol. 54, No. 1: 82-103. (A&HCI; double blind-reviewed)
- (2011). Global Hollywood, narrative transparency and Chinese media poachers: Narrating cross-cultural negotiations of Friends in South China. Television and new media, Vol. 12, No. 3: 207-228. (AHI; SSCI: double blind-reviewed)
- (2007). Notes on contemporary Singapore cinema (1991-2007). Asian cinema Vol. 18, No. 2: pp. 147-159.
- (2007). Huangmei opera films, Shaw Brothers and Ling Bo: chaste love-stories, genderless cross-dressers and sexless gender-plays? Jump cut: A Review of contemporary media 49 (Spring): http://www.ejumpcut.org/home.html [on-line journal] [16,000 words]. (refereed).
- (2003). Singapore contemporary cinema: History, policies and Eric Khoo (with A. Aw & M. Lee). Jump cut: A Review of contemporary media 46 (Summer): http://www.ejumpcut.org/home.html [on-line journal] [12,000 words]. (refereed).
- (2001). Chinese diasporic imaginations in Hong Kong films: Sinicist belligerence and melancholia. Screen 42.1 (Spring): pp. 1-20. (AHI; double blind reviewed)
- (2000). The cross-gender performances of Yam Kim-Fei, or the queer factor in postwar Hong Kong Cantonese opera/opera films. Journal of homosexuality 3/4: pp. 201-211. (SSCI, double blind-reviewed)
- (1996). Ban(g)! ban(g)! Dangerous encounter – 1st kind: Writing with censorship. Asian Cinema 8.1 (Spring): pp. 83-108. (refereed)
- (1996). Making space for heterologies: de Certeau’s links with post-colonial criticisms. Social semiotics 6.1: pp. 27-44. (Indexed; refereed)
- (1994). Hong Kong cinema: Marginalisation and cultural resistance,” The South East Asian journal of social science 22: pp. 53-69. [A Double issue on cultural studies from the Asia-Pacific]. (Indexed; refereed)
- (1993). Delirious native chaos and perfidy: A postcolonial reading of John Woo’s The killer. Antithesis 6.2: pp. 53-66. (refereed)
Edited Journal
- (2018). Asian Cinema Vol. 29, Vol. 2 (double blind-reviewed)
- (2018). Asian Cinema Vol.29, No. 1 (double blind-reviewed)
- (2017). Asian Cinema Vol. 28, No. 2; 113-259 pages; plus Editorial with Gary Bettinson. (double blind-reviewed)
- (2017). Asian Cinema Vol. 28, No. 1. 1-112 pages (double blind-reviewed)
- (2016). Asian Cinema Vol. 27, No. 2. 107-203 pages (double blind-reviewed)
- (2016). Asian Cinema Vol. 27, No. 1. 1-106 pages (double blind-reviewed)
- (2015). Asian Cinema Vol. 26, No. 2. 133-228 pages. (double blind-reviewed)
- (2015). Asian Cinema Vol. 26, No. 1; plus Editorial with Gary Bettinson. 1-132 pages (double blind-reviewed)
- (2014). Asian Cinema Vol. 25, No. 2; plus Editorial with Gary Bettinson. 117-252 pages. (double blind-reviewed)
- (2014). Asian Cinema Vol. 25, No. 1; plus Editorial with Gary Bettinson. 1-116 pages (double blind-reviewed)
- (2013). Asian Cinema Vol. 24, No. 2; plus Editorial with Gary Bettinson. 135-282 pages. (double blind-reviewed)
- (2013). Asian Cinema Vol. 24, No. 1; plus Editorial with Gary Bettinson. 1-134 pages (double blind-reviewed)
- (2012). Asian Cinema Vol. 23, No. 2; plus Editorial with Gary Bettinson. 123-246 pages(double blind-reviewed)
- (2012). Asian Cinema Vol. 23, No. 1; plus Editorial with Gary Bettinson. 1-122 pages. (double blind-reviewed)
- (2001). Special Issue Journal Co-editor, Asian journal of communication Vol. 11, No. 2; plus Foreword with G. Marchetti. 146 pages. (SSCI; double blind-refereed)
Conference/Workshop Presentations
- (2017). Social Justice and Rural Women in China. Film, Literature and Social Justice Workshop (UM).
- (2017). The Three-Women Film. Bentox Box. (UM).
- (2014). Bangpian and Global Bondmania. University of Macau.
- (2013). Shaw Brothers’ bangpian or James Bond-style thrillers. Hong Kong Baptist University.
- (2012). Banal Cosmopolitanism: Zhang Yimou’s The Flowers of War. Exeter University.
- (2012). Shaw Brothers and bangpian. Hong Kong University.
- (2010). Qiqing films from the Shaw Archive. The 20th international screen studies annual conference: Screen performance. UK: Glasgow.
- (2010). Global Hollywood, narrative transparency, Chinese media poachers. The Department of Communication Colloquim. Macao: University of Macau.
- (2009). Narrating cross-cultural friendship: Befriending Friends transparently in South China? The 18th AMIC annual conference: Media, democracy and governance: Emerging paradigms in the digital age. India: New Delhi.
- (2009). Surfing with the surreal in Tsui Hark’s wave: Collage practice, hybrid texts and flexible citizenship. The 59th annual conference of the International Communication Association: Keywords in communication (popular communication division). USA: Chicago.
- (2007). US sitcoms and Chinese audience. The Screenscapes conference: Past present and future. Australia: University of Sydney, Sydney.
- (2006). Between technocratic and cultural nationalisms: New Singapore cinema in the making. The 17th Cultural Studies Association of Australasia annual conference: Unaustralian. Australia: Canberra.
- (2006). Contemporary Singapore filmmaking: A pan-Asian brand? The film scene: Cinema, the arts, and social change symposium. Hong Kong: Hong Kong University.
- (2006). Huangmei opera films: The struggles of/for the Seventh Fairy Daughter. The film scene: Cinema, the arts, and social change symposium. Hong Kong: Hong Kong University.
- (2006). Huangmei tune films: History, form and ideology. The centenary of Chinese cinema: Influence of the Shaw Brothers conference. Hong Kong: Hong Kong Baptist University.
- (2005). Postwar Hong Kong cinema: Cold war politics and film genres. The 16th AMIC annual conference: Media and society in Asia—transformations and transitions, in conjunction with Nanyang Technological University (Singapore) and Communication University of China (Beijing). PRC: Beijing. [Session chair & panel Organiser]
- (2004). New Hong Kong cinema: Intertextuality, parody and cultural identity. The whither film theory conference. PRC: Shanghai University, Shanghai.
- (2004). New Hong Kong cinema: Speaking from the margin. The 13th AMIC annual conference: Impact of new and old media on development in Asia, in conjunction with Nanyang Technological University (Singapore) and Dhurakijpundit University (Bangkok). Thailand: Bangkok.
- (2004). From South Pacific to Shanghai: No film is an island. The Fulbright film symposium: Hong Kong/Hollywood at the borders—alternative perspectives, alternative cinemas. Hong Kong & Macao: University of Hong Kong (Hong Kong) and University of Macau (Macau). [Conference co-organiser and session chair].
- (2003). Singapore filmmaking: Eric Khoo. The FSH Department of English seminar Series. Macao: University of Macau.
- (2003). Huangmei opera films and Ivy Ling Boh: Genre, gender and diaspora,” The 14th Cultural Studies Association of Australasia: Culture incorporated—bodies, technologies, habitats, in conjunction with the University of Canterbury (Christchurch). New Zealand: Christchurch.
- (2003). Contemporary Singapore filmmaking: History and policy. The 35th international Visual Literacy Association annual convention: Changing tides in Newport. Rhode Island, USA: Newport.
- (2002). External orgainzational-public communication: Guanxi and public relations professionals in Singapore. The marketing communication strategies in a changing global environment conference. Hong Kong: Hong Kong Baptist University.
- (2002). Love eterne: Almost a (heterosexual) love story,” The 56th University Film and Video Association annual conference, in conjunction with Ithaca College(Ithaca). USA: Ithaca, New York.
- (2002). Hong Kong Huangmei operettas: Genre and gender in the jaren caizi romance. The 1st Hawaii international conference on social sciences. USA: University of Hawaii, Honolulu.
- (2002). Guanxi and public relations: An exploratory qualitative study of the public relations-guanxi phenomenon in Singapore firms,” The 52nd Annual International Communication Association conference: Reconciliation through communication (public relations division). South Korea: Seoul.
- (2002). Culture of reticence: Reading secrets, family, and communication in 12 Storey. The 52nd International Communication Association conference (popular communication division). South Korea: Seoul.
- (2001). Colonialism and censorship: The case of Tsui Harks’ Dangerous encounter—1st kind. The 85th Association for Education in Journalism and Mass Communication annual convention: A capital odyssey (cultural and critical studies division). USA: Washington DC.
- (2001). Colonial/censorship burdens. The 85th Association for Education in Journalism and Mass Communication annual convention: A capital odyssey (entertainment studies special interest group). USA: Washington DC.
- (2000). Dialects: Die or let live? The IAMCR 2000 annual conference: Technology, industry and the citizen in the age of globalization, in conjunction with the Asian Media Information and Communication Centre, Nanyang Technological University (Singapore). Singapore: Singapore.
- (2000). Chinese diasporic imaginations in Hong Kong films: Sinicist belligerence and melancholia,” The 50th International Communication Association annual conference: Years of research in communication, culture, and cognition (philosophy of communication division). Mexico: Acapulco. [session chair].
- (2000). Singapore television: To globalize or glocalize (with A. Aw),. The Centre for Critical & Cultural Studies conference: television past, present and futures. Australia: University of Queensland, Brisbane.
- (2000). Pushing e-Commerce: Selling trust on the net. The 31st annual cConference of the International Institute of Communications: Communication by design—exploring the digital future. USA: Tampa Bay, Florida.
- (2000). Cross-dressing and Hong Kong Cantonese opera films. The Asian Cinema Studies Society 2000 conference. USA: University of Oklahoma, Oklahoma.
- (1999). Singapore gays go to West Hollywood: On doing research on minority representation in Singapore. The Asian media/practice: Rethinking communication and media research in Asia. Singapore: Nanyang Technological University.
- (1999). The Chinese diaspora in Hong Kong films: From Shanghai to Hong Kong. The 9th international screen studies conference. UK: University of Glasgow, Glasgow.
- (1998). Cross-dressing and gender-crossing: A Case Study of Yam Kim-fai. The 39th Society for Cinema Studies annual conference. USA: San Diego.
- (1998). Queer Hong Kong cinema. The Asian popular culture conference. Canada: Victoria University, Victoria.
- (1997). Depicting exiles: Shanghai/Hong Kong/Australia—From Cai Chusheng to Clara Law. The Asian Cinema Studies Society 1997 conference. Canada: Trent University, Petersborough. [Co-organiser and session chair].
- (1995). Ban(g)! ban(g)! Dangerous encounter—1st kind. The Australian and New Zealand Communication Association 1995 annual conference: Asia/postcolonial/technology. Australia: Perth.
- (1995). The Empire writes back! Where is Hong Kong (cinema) in their letters. The past colonial difference conference. Australia: University of Melbourne, Melbourne.
- (1994). Hong Kong cinema: Post-colonial killers. The 16th Ohio University Film conference: Asian cinema—poetics and politics. USA: Ohio University, Athens.
- (1994). Queer dong: The body not in the library. The body in the library conference. Australia: University of Queensland, Brisbane.
- (1994). Hong Kong cinema: picking up the fragments—the frolics and conquests of “Mr. Asia”. The identities, ethnicities and nationalities conference. Australia: La Trobe University, Melbourne.
- (1994). Yellow earth: The long march in Chinese realisms. The Department of English and Cultural Studies speaker series. Australia: University of Melbourne, Melbourne.
- (1994). Hong Kong cinema: Postcolonial spaces. The Department of Communication and Media Studies: An occasional seminar. Australia: University of Central Queensland, Rockhampton.
- (1994). John Woo’s The Killer: Colonial monuments and resistance in postcolonial space. The Department of Theatre and Film Studies: A special seminar. Australia: University of New South Wales, Sydney.
- (1994). Meaty bits and spare ribs: Incredible stories of cannibalism. The Department of English and Cultural Studies postgraduate seminar series. Australia: University of Melbourne, Melbourne.
- (1993). Imperialist representation: European travel photographs of late Imperial China (1850-1912). The Victorian postgraduate conference. Australia: University of Melbourne, Melbourne.
- (1992). Hong Kong cinema: Post-colonialism and cultural resistance. The Department of English and Cultural Studies postgraduate seminar series. Australia: University of Melbourne, Melbourne.
- (1989). Surveying fifty years of Chinese cinema: Women and socialism. Faculty of Mass Communication and Media Studies speaker series. Australia: Murdoch University, Perth.