Associate Professor of Asian and Middle Eastern Studies
Tuesday 2:00-4:00 PM and by appointment
My research and teaching are centered around film, audiovisual media as well as other modes of representational forms. Focusing on Chinese-language cinema and its attending clusters of modes of representation such as literature, music, theater, and new media, I approach audiovisual culture and the larger global cultural history through theory, historiography, and practice. Specific themes or genres I have written on and taught are narrative film, documentary, queer cinema, melodrama and I have been engaging with documentary and experimental filmmaking practice, multimedia installations, and photography curation. Part of my currently research brings to me consider questions of new media vis-à-vis new archives as mutually enabling while presenting entangled challenges in global media culture. I am also working on a large-scale research on the cultural representation of the year 1949 on both sides of the Taiwan Straits.
Film historiography, film theory, sound studies, postcolonial theory and theories of culture and globalization; film and other media of Taiwan, Hong Kong and China
Hong, G. “Theatrics of Cruising: Bath Houses and Movie Houses in Tsia Ming-Linag’s Films.” Queer Sinophone Cultures, edited by Howard Chiang and Ari Larissa Heinrich, Routledge, 2013.
Hong, G. “Theatrics of Cruising: Bathhouses and Movie Houses in Tsai Ming-Liang’s Films.” Sinophone Queer Reader, 2012.
Hong, G. “Theatrics of Cruising: Bathhouses and Movie Houses in Tsai Ming-Liang’s Films.” Sinophone Queer Cinema, 2011.
Hong, G. “Healthy Realism in Taiwan, 1964-1980: Film Styles, Cultural Policies, and Mandarin Cinema.” The Chinese Cinema Book, edited by Song Hwee Lim and Julian Ward, British Film Institute, 2011.
Hong, Guo-Juin. “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 Cultures, edited by Olivia Khoo and Sean Metzger, Intellect, the University of Chicago Press, 2009, pp. 57–72.
Hong, G. “Island of No Return: Cinematic Retrospection in Wang’s Taiwan Trilogy.” Techologies of Temporality in Chinese Cinema, 2006.
Hong, G. J. “Voices and their discursive Dis/Content in Taiwan documentary.” Frontiers of Literary Studies in China, vol. 7, no. 2, Jan. 2013, pp. 183–93. Scopus, doi:10.3868/s010-002-013-0010-8. Full Text
Hong, G. “Limits of Visibility: Taiwan’s Tongzhi Movement in Mickey Chen’s Documentaries.” Positions: East Asia Cultures Critique, 2012.
Hong, G. “Voice and Its Dis/Content in New Taiwan Documentary.” Frontiers of Literary Studies in China, 2012.
Hong, G. “Historiography of Absence: Taiwan Cinema before New Cinema 1982.” Journal of Chinese Cinemas, vol. 4, no. 1, 2010, pp. 5–14.
Hong, Guo-Juin. “Limits of Visibility: Taiwan’s Tongzhi Movement in Mickey Chen’s Documentaries.” Positions: East Asia Cultures Critique, 2009.
Hong, Guo-Juin. “From the Masses to the Masses.” Visual Anthropology, vol. 22, 2009, pp. 75–76.
Guo Juin Hong, Xiao-dong. “Meet Me in Shanghai: Melodrama and the Cinematic Production of Space in 1930s Shanghai Leftist Films.” Journal of Chinese Cinemas, vol. 3, no. 3, 2009, pp. 215–30.
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.
Hong, G. “Meet Me in Shanghai: Urban Cinema as Refugee Cinema in 1930s Shanghai.” Cinema Journal, 2006.
Hong, G. “Framing Time: _New Women_ and the Cinematic Representation of Colonial Modernity in 1930s Shanghai.” Positions: East Asia Cultural Critique, 2005.