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 7^th China Excellent Films Show Forum, UM.
• 2009:   The 6^th China Excellent Films Show Forum, UM.
• 2007: The Inaugural Asian American Film Festival, UM.
  
• 2005: The 12^th 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 30^th 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: 2^nd 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.