Film Set



Sangjoon Lee

Sangjoon Lee is an Assistant Professor of Asian cinema at the Wee Kim Wee School of Communication and Information, Nanyang Technological University in Singapore. Lee is the author of Cinema and the Cultural Cold War: US Diplomacy and the Origins of the Asian Cinema Network (Cornell University Press, 2020), the editor of Hallyu 2.0: The Korean Wave in the Age of Social Media (University of Michigan Press, 2015) and Rediscovering Korean Cinema (University of Michigan Press, 2019), and the guest editor of “Reorienting Asian Cinema in the Age of the Chinese Film Market (Screen, 2019), “The Chinese Film Industry: Emerging Debates” (Journal of Chinese Cinemas, 2019), and “Transmedia and Asian Cinema” (Asian Cinema, 2020). Lee is currently editing a third volume, The South Korean Film Industry, and writing a new book that will explore how South Korean cinema during the Cold War was influenced by the regional and trans-regional network with diasporic Sinophone cinemas of Hong Kong, Taiwan, Singapore, and Malaysia.

Darlene Machell Espena

Darlene Machell Espena is an Assistant Professor of Humanities at Singapore Management University (SMU), where she has taught courses on International Relations on Film, Film in Southeast Asia, Cultural History of the Cold War in Asia, and Big Questions. She earned her PhD in History (2017) and MSc. in Asian Studies (2012) from Nanyang Technological University (NTU). Her research includes cinema, dance, and politics in postcolonial Southeast Asia, cultural history of the Cold War in Southeast Asia, and cultural discourses on education in Singapore. Before joining SMU in August 2018, she was a Research Fellow at Singapore’s National Institute of Education (NIE). She has held teaching positions at De La Salle University and Ateneo de Manila University in the Philippines. Her current book project is entitled “Heralding the Nation: Cinema and Politics in Postcolonial Southeast Asia, 1945-1967.”  

Keynote Speaker

Farish A. Noor

Farish A. Noor is presently Associate Professor at the S. Rajaratnam School of International Studies, Nanyang Technological University; and coordinator of the Rajaratnam School of International Studies doctoral program. His area of research covers the political history of Southeast Asia and religio-political movements in the region. He is the author of America’s Encounters With Southeast Asia 1800-1900: Before The Pivot (Amsterdam University Press, 2018);  The Discursive Construction of Southeast Asia in 19th Century Colonial-Capitalist Discourse (Amsterdam University Press, 2016); The Tablighi Jama’at in Southeast Asia (Amsterdam University Press, 2014); The Madrasa in Asia: Political Activism and Transnational Linkages (With Martin van Bruinessen and Yoginder Sikand (Eds.), (Amsterdam University Press, 2008); Islam Embedded: The Historical Development of the Pan-Malaysian Islamic Party PAS: 1951-2003 (Malaysian Sociological Research Institute (MSRI), Kuala Lumpur, 2004). He is also a member of the United Nations Panel of Experts on Religion and Politics.

Plenary Session Speakers

Chris Berry

Chris Berry is Professor of Film Studies at King’s College London. In the 1980s, he worked for China Film Import and Export Corporation in Beijing as a translator. Prior to his current appointment, he taught at La Trobe University in Melbourne, The University of California, Berkeley, and Goldsmiths, University of London. Primary publications include: (with Mary Farquhar) Cinema and the National: China on Screen (Columbia University Press and Hong Kong University Press, 2006); Postsocialist Cinema in Post-Mao China: the Cultural Revolution after the Cultural Revolution (New York: Routledge, 2004); (co-edited with Luke Robinson) Chinese Film Festivals: Sites of Translation (Palgrave Macmillan, 2017); (co-edited with Koichi Iwabuchi and Eva Tsai) Routledge Handbook of East Asian Popular Culture (Routledge, 2016); (edited with Janet Harbord and Rachel Moore), Public Space, Media Space (Basingstoke: Palgrave Macmillan, 2013); Chinese Cinema, 4 vols, (London: Routledge, 2012); (edited with Lu Xinyu and Lisa Rofel), The New Chinese Documentary Film Movement: For the Public Record (Hong Kong: Hong Kong University Press, 2010); (edited with Kim Soyoung and Lynn Spigel), Electronic Elsewheres: Media, Technology, and Social Space (Minneapolis: University of Minnesota Press, 2010); (edited with Nicola Liscutin and Jonathan D. Mackintosh), Cultural Studies and Cultural Industries in Northeast Asia: What a Difference a Region Makes (Hong Kong: Hong Kong University Press, 2009); (edited with Ying Zhu) TV China (Indiana University Press, 2008); (editor) Chinese Films in Focus II (British Film Institute, 2008); and (co-edited with Feii Lu) Island on the Edge: Taiwan New Cinema and After (Hong Kong: Hong Kong University Press, 2005).

Zhen Zhang

Zhen Zhang is associate professor at the Department of Cinema Studies of New York University. Zhang’s research interests are Chinese film history (including China, Taiwan, and Hong Kong), melodrama, childhood, feminism/gender, and independent cinema. Her books include An Amorous History of the Silver Screen: Shanghai Cinema 1896-1937 (“Honorable Mention for the First Book” by the Modern Languages Association); (editor of) The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century; (coeditor of) DV-Made China: Digital Subjects and Social Transformation; and a poetry collection, Mengzhong Louge (Dream Loft) (China, 1998). Zhang is the recipient of an Andrew W. Mellon Postdoctoral Fellowship in the Humanities (1998-1999), the Society of Cinema Studies Dissertation Award (2000), a J.P. Getty Postdoctoral Fellowship in the History of Art and the Humanities (2001-2002), and a National Endowments for the Humanities Summer Stipend (2006).

Rachel V Harrison

Rachel V Harrison is Professor of Thai Cultural Studies in the Department of South East Asia at SOAS, University of London. She has published widely on issues of gendered difference, sexuality, modern literature and cinema in Thailand as well as the comparative literature of South East Asia. She is the editor of Disturbing Conventions: Decentering Thai Literary Cultures (Rowan and Littlefield, 2014) and the co-editor, in collaboration with Peter A. Jackson, of The Ambiguous Allure of the West: Traces of the Colonial in Thailand (Hong Kong University Press and Cornell University Press, 2010). She is also editor of the journal South East Asia Research.

Shunya Yoshimi

Shunya Yoshimi is a professor at the University of Tokyo’s Interfaculty Initiative in Information Studies. He has also served in multiple positions at The University of Tokyo, including Dean of Graduate School of Interdisciplinary Information Studies; Vice President of the University of Tokyo; Chairman of the University of Tokyo Newspaper; Chairman of University of Tokyo Press, etc. He studies contemporary Japanese cultural history, everyday life, and cultural politics from the perspective of dramaturgy. His major works include Dramaturgy of the Urban (Kawade Bunko), The Politics of Exposition (Kodansha Gakujutsu Bunko), Cultural Sociology in the Media Age (Shinyosha), Voice of Capitalism (Kawade Bunko), Cultural Studies (Iwanami Shoten), Invitation to Media Cultural Studies (Yuhikaku), Expo and Postwar Japan (Kodansha Gakujutsu Bunko), Pro-America, Anti-America (Iwanami Shinsho), Post-postwar Society (Iwanami Shinsho), What is University? (Iwanami Shinsho), Atoms for Dream (Chikuma Shinsho), Out of America (Kobundo), Abolition of Humanities? (Shueisha), Geopolitics of Visual City (Iwanami Shoten), Scales of History (Shueisha), Between Post-war and Post-disaster (Shueisha), Living in the Trump’s America (Iwanami Shinsho), Heisei Era (Iwanami Shinsho) etc.

Chua Beng Huat

Chua Beng Huat is currently a professor in the Department of Sociology, Faculty of Arts and Social Science at the National University of Singapore, and concurrently serving as a faculty member (Social Science [Urban Studies]) at the Yale-NUS College. He received his PhD from York University, Canada. He has previously served as Provost Chair Professor, Faculty of Arts and Social Science (2009-2017), Research Leader, Cultural Studies in Asia Research Cluster, Asia Research Institute (2000-2015); Convenor Cultural Studies Programmes (2008-2013) and Head, the Department of Sociology (2009-2015), National University of Singapore. 

Panel One Speakers

Man-Fung Yip

Man-Fung Yip is Associate Professor of Film and Media Studies at the University of Oklahoma. He is the author of Martial Arts Cinema and Hong Kong Modernity: Aesthetics, Representation, Circulation (2017) and co-editor of American and Chinese-Language Cinemas: Examining Cultural Flows (2015) and The Cold War and Asian Cinemas (2019). His articles have appeared in Cinema Journal and in numerous edited volumes. He is currently working on a book manuscript on Hong Kong leftist cinema.

Eric Sasono

Eric Sasono is an Indonesian film critic who obtained his doctoral degree in film studies from King's College London in 2019. He co-founded the Indonesian Film Society, a London-based community group to screen films regularly in London and to promote Indonesian culture to the UK public and beyond. Eric was the secretary of the executive board of YMMFI, Indonesian Independent Film Society Foundation, (2009 - 2019) that established the Indonesian Documentary Center (In-Docs) and organized the now-defunct Jakarta International Film Festival (JIFFest). Eric has co-written a book about Indonesian film industry and edited a volume about Southeast Asian cinema. He is now working in a Jakarta-based civil society organization while working on his research about 'film Islami'. Eric is actively blogging on

Elmo Gonzaga

Elmo Gonzaga is Assistant Professor in the Division of Cultural Studies at The Chinese University of Hong Kong, where he teaches Global Critical Theory, Film and Screen Studies, and Urban Humanities. He obtained his PhD from University of California, Berkeley specializing in the visual and spatial cultures of Southeast Asia and the Global South. Monsoon Marketplace, his book manuscript, traces the entangled genealogies of capitalism, modernity, consumption, and spectatorship in representations of commercial and leisure spaces in Singapore and Manila during the 1930s, 1960s, and 2000s. His research has appeared in Cinema Journal, Cultural Studies, and the Journal of Asian Studies. 

Panel Two Speakers

Adam Knee

Adam Knee is Dean of the Faculty of Fine Arts, Media & Creative Industries at Singapore’s Lasalle College of the Arts.  Prior to this, he held appointments at University of Nottingham Ningbo China (where he was Head of the School of International Communications and Professor of Film and Media Studies), Nanyang Technological University (Singapore), and Ohio University (US).  He has also been a Fulbright grantee (in Thailand) and a Research Fellow at the International Institute for Asian Studies in Leiden, the Netherlands. He has broad interests in Southeast Asian and US popular film.

Wen-Qing Ngoei

Wen-Qing Ngoei is an assistant professor of humanities in the Office of Core Curriculum at the Singapore Management University. He completed his PhD at Northwestern University in the history of U.S. foreign relations with Southeast Asia. Ngoei’s first book, Arc of Containment: Britain, the United States, and Anticommunism in Southeast Asia (Cornell, 2019), traces how British decolonization intertwined with Southeast Asian anticommunism to usher the region from European-dominated colonialism to informal U.S. empire. His essays have appeared in Diplomatic History, the Journal of American-East Asian Relations and International Journal.

Panel Three Speakers

Hiroshi Kitamura

Hiroshi Kitamura is Associate Professor of History at the College of William & Mary. He is the author of Screening Enlightenment: Hollywood and the Cultural Reconstruction of Defeated Japan (Ithaca, 2010), which was also published in Japanese by Nagoya University Press in 2014.  Hiroshi is currently working on two book projects: one on Hollywood and East Asia during the Cold War, and the other on the film critic Yodogawa Nagaharu. 

Han Sang Kim

Han Sang Kim is Assistant Professor of Sociology at Ajou University. His fields of research include visual sociology, film archival studies, Cold War governmentality in East Asia, Korean and East Asian film history, and the cultural history of mobilities. His first book, Cine-Mobility: A New Look At Korea’s Modernity in the 20th Century (Harvard University Asia Center, 2022), seeks to trace the association between cinematic visuality and modern transportation mobility in forming a modern subjectivity in twentieth-century Korea, and is forthcoming through Harvard University Asia Center's publication program. He is concurrently working on his second book project based on his doctoral dissertation on U.S. film propaganda activities towards South Korea from 1945 through 1972, putting on a self-reflexive critique of information-oriented archival approaches to film materials and expanding the project onto a methodological exploration. He has published essays in The Journal of Asian Studies, Journal of Korean Studies, Inter-Asian Cultural Studies, and several other journals in Korean.

Nitin Govil

Nitin Govil is Associate Professor of Cinematic Arts at the University of Southern California. He is the author of Orienting Hollywood: A Century of Film Culture between Los Angeles and Bombay (2015) and one of the co-authors of Global Hollywood (2001) and Global Hollywood 2 (2005). His writing has been translated into Chinese, Portuguese, Spanish and Turkish. He is currently working on a project on transnational Bombay cinema called Out of Alignment: Film Culture and the Cold War.

Panel Four Speakers

Kenny Ng

Kenny Ng is Associate Professor at the Academy of Film in the Hong Kong Baptist University. His book, Li Jieren, Geopoetic Memory, and the Crisis of Writing Chengdu in Revolutionary China (Brill, 2015) studies cultural geography and historical memory in fictional and historiographical narratives. His ongoing book projects concern censorship and visual cultural politics in Cold War Hong Kong, China, and Asia, Cantophone cinema history, leftwing cosmopolitanism, and post-millennial Hong Kong cinema.

Yung Sai-Shing

Yung Sai-Shing obtained his doctoral degree from the Department of East Asian Studies, Princeton University. Specializing on pre-modern Chinese drama, he has been teaching in the National University of Singapore since 1991.  His research interests include socio-cultural history of Cantonese opera/music, Chinese opera in Singapore, Chinese sound culture, Cultural Cold War in Asia, Hong Kong pulp fiction and dialect cinema after World War II. His publications include Cantonese Opera from the Gramophone: a Cultural History (1903-1953) (Hong Kong, Cosmos Press, 2006); From Red Boat to Silver Screen: Visual and Sonic Culture of Cantonese Opera  (Hong Kong: Oxford University Press, 2012); A Study on the Taiping Theatre Collection  (Hong Kong: Hong Kong Heritage Museum, 2015).

Ana Catarina Leite

Ana Catarina Leite is a PhD student at the Chinese Studies department of NUS working on film production in Macau from the post World War II period until the mid-1970s. She is particularly looking at the links between film production in Macau and the attempt to legitimize Portuguese presence in that territory during a time of decolonization. Prior to that, she graduated from SOAS, University of London, with a BA in Chinese and Social Anthropology, and an MA in Chinese Studies.

Panel Five Speakers

Evelyn Shih

Evelyn Shih is a scholar of Chinese and Korean literatures, media, and cultures. She is currently an Assistant Professor of Chinese at the University of Colorado-Boulder. Her work has received the support of the Fulbright Program, the American Council of Learned Societies, Academia Sinica, and the Korea Foundation. She has published in the Journal of Chinese Cinemas, Room One Thousand, and the Journal of Korean Studies, and she is working on a book project titled The Cold War Comic: Power and Laughter in Taiwan and South Korea, 1948-1979.

Yeo Min Hui

Yeo Min Hui is funded by Nanyang Technological University to read a DPhil programme in Chinese Studies at the University of Oxford. Her current project focuses on the connections and relationships forged between the Malay- and Chinese-language cinemas and film industries (1960s-1980s). She has most recently co-edited a biography of Amoy-dialect film star Chong Sit Fong entitled Xue Ni Fang Zong Zhuang Xuefang 雪霓芳踪莊雪芳(Singapore: Lingzi Media, 2017).

Christina Klein

Christina Klein is a cultural historian of the Cold War who teaches in the English Department at Boston College.  She is the author of Cold War Orientalism: Asia in the Middlebrow Imagination, 1945 – 1961 (2003) and Cold War Cosmopolitanism: Period Style in 1950s Korean Cinema (2020).  Her articles on Korean and Asian cinema have been published in the Journal of Korean Studies, Transnational Cinemas, American Quarterly, Journal of Chinese Cinemas, Comparative American Studies, and Cinema Journal. 

Panel Six Speakers


Alexander Zahlten

Alexander Zahlten is an associate professor at Harvard University. His work centers on film and audiovisual culture in East Asia, with a focus on Japan. His recent work touches on topics such as film's transition from environment to ecology and 'amateur' film and media production. Publications include the co-edited (with Marc Steinberg) volume Media Theory in Japan (2017) and his monograph The End of Japanese Cinema: Industrial Genres, National Times, and Media Ecologies (2017). He was Program Director for the Nippon Connection Film Festival, the largest festival for film from Japan, from 2002 to 2010.

Ting-Wu Cho

Ting-Wu Cho is a Ph.D. Candidate in Cinema Studies at New York University. Her areas of research include transnational cinemas, media ethnography, genre studies, and Chinese language cinemas, with a focus on Taiwanese film history. She is currently working on trans-Asian exploitation films in the late Cold War period.

Elizabeth Wijaya

Elizabeth is an Assistant Professor of East Asian Cinema in the Department of Visual Studies and Cinema Studies Institute of the University of Toronto. She is Director of the Centre for Southeast Asian Studies and is working on her book manuscript, Luminous Flesh: The Visible and Invisible Worlds of Trans-Chinese Cinema.