Ling U

• Ph.D. Communication Arts (Radio, Television, Film). University of Wisconsin-Madison.

• M.A. Communication Arts, Minor: Art History (Asia). University of Wisconsin-Madison.

• B.A. Philosophy and English. Calvin College, Michigan.

• Languages: Japanese, conversational Mandarin, German (reading knowledge).

• Honorary Professor. Visual Studies. Lingnan University. January 2017-continuing.

• Visiting Professor, Tisch School of the Arts, Cinema Studies, NYU, January-May 2015.

• Adjunct Associate Professor, Department of English, Hang Seng Management College, Sept 2011-2013.

• Senior Lecturer, School of Media, Theatre and Film, University of New South Wales, June 2000-Feb. 2008.

• Visiting Assistant Professor, Cinema-TV, Hong Kong Baptist University, January-June 2000.

• Assistant Professor, Comparative Literature, University of Hong Kong, September 1998-July 1999.

• Associate Professor, English Department, Kobe University of Commerce, Japan, March 1996-March 1998.

• Assistant Professor, University of Southern California School of Cinema-TV (1994) and Dept of East Asian Languages and Cultures (1995).

Books

• 33 New Takes on Taiwan Cinema (co-editor, University of Michigan Press, 2022).

• Darrell William Davis and Emilie Yueh-yu Yeh, ed., Special Section: “Media Industries in the Global Frames: Craft, Collaboration, Competition.” Media Industries 7.1 (2020).

• East Asian Screen Industries (with Emilie YY Yeh). British Film Institute, 2008. 202 pages.

• Cinema Taiwan: Politics, Popularity, State of the Arts (co-edited with Robert Chen Ru-shou). Routledge, 2007. 236 pages.

• Taiwan Film Directors: A Treasure Island (with Emilie YY Yeh). Columbia University Press, 2005. 296 pages.

• Picturing Japaneseness: Monumental Style, National Identity, Japanese Film. Columbia University Press, 1996. 352 pages.

Book Chapters and Journal Articles

• “Introduction: Media Industries in the Global Frames: Craft, Collaboration, Competition.” Media Industries 7.1 (2020).

• “Two Systems Differential: Informal Media and Decolonization in Hong Kong.” Willing Collaborators: Foreign Partners in Chinese Media. Eds., M. Keane, B. Yecies and T. Flew. London: Rowman and Littlefield, 2018: 63-80.

• “Ozu, The Ineffable.” Reorienting Ozu: A Master and His Influence. Ed. J. Choi. Oxford University Press, 2017: 33-44.

• “Ang Lee’s Adaptation, Pretense, Trans-mutation” in A New Literary History of Modern China ed. David Der-wei Wang, Harvard University Press, 2017.

• “Lust/Caution: Cannibal Class.” Lust/Caution: from Eileen Chang to Ang Lee. Eds. Peng Hsiao-yen and Whitney Dilley. Routledge, 2014: 64-78.

• “Marketization, Hollywood, Global China.” Modern Chinese Literature and Culture (Spring 2014): 193-242.

• “A Marriage of Convenience: Musical Moments in Chinese Movies.” Oxford Handbook on Chinese Cinema. Ed. Carlos Rojas and Eileen Chow. Oxford University Press, 2013: 438-451.

• “Second Coming: the Legacy of Taiwan New Cinema.” A Companion to Chinese Cinema. Ed. Yingjin Zhang. London: Blackwell, 2012: 133-150.

• “Questioning Diaspora: Mobility, Mutation and Historiography in the Shaw Brothers Film Studio.” Chinese Journal of Communication 4, 1 (January 2011): 40-59.

• “Market and Marketization in the China Film Business,” contribution to “In Focus: China’s Rise,” Cinema Journal 49, 3 (Spring 2010): 121-125.

• “Re-nationalizing China’s Film Industry: Case Study on China Film Group and Film Marketization,” (with Emilie YY Yeh) Journal of Chinese Cinemas 2.2 (2008): 37-51.

• "Kitano Takeshi’s Hana-Bi: Therapy for Him and Her." Japanese Film: Texts and Contexts. Ed. J. Stringer. Routledge, 2007, pp. 284-295.

• Aynne Kokas, Hollywood Made in China. Oakland: University of California Press, 2017. Modern Chinese Literature and Culture (2018): http://u.osu.edu/mclc/book-reviews/ddavis/

• Chris Berry, et al, Cultural Studies and Cultural Industries in Northeast Asia: What a Difference a Region Makes. Hong Kong University Press, 2010. Chinese Journal of Communication 4.1 (2011): 77-80.

• Aaron Gerow, Kitano Takeshi. British Film Institute, 2007. Film Quarterly 63.2 (2009-10): 82-3.

• Mark Le Fanu, Mizoguchi and Japan. British Film Institute, 2005. Journal of Japanese Studies 33.1 (2007): 259-264.

• Yoshida Kiju, Ozu's Anti-Aesthetic. University of Michigan Press, 2003. Japanese Studies 26.2 (2006): 260-262.

• “The Uses of Puppets,” Transcultural Cinema Forum, Kyoto University, Japan, 22 October 2019 (invited speaker).

• Discussant. “Outside Film Classrooms: From Studies, to Production.” International Symposium, Center for Film Studies, National Central University and Centre for Cinema Studies, Lingnan University. Taipei, 23 February, 2019.

• “Li Xianglan, Empire and Technical Being,” Network of European Cinema Studies Annual Conference. Paris, June 29-July 1, 2017.

• “Hong Kong Postcolonial Film Policy,” Film Policies in Transition—Globalization, Digitization and the Rise of Protectionism, King’s College London, June 2, 2017.

• “Two Systems Differential: Informal Media and Decolonization in Hong Kong” SCMS, Chicago, March 22-26, 2017.

• “Zimuzu and Connected Viewing in China” ICA Annual Meeting, Fukuoka, Japan, June 9-13 2016.

• Keynote, “Maitre Puppet: Artists in Wartime.” The First International Conference on the Film Histories of Taiwan and Asia. Department of Filmmaking. Taipei National University of Arts, Oct. 31-Nov. 1, 2015.

• “Subtitles and Subcultures in China.” Beyond Asian Extremes: A Workshop on New Media and Cinema Practices in Southeast and East Asia, Cinema Studies, New York University, 1-2 May 2015 (by invitation).

• “Marketization and New Chinese Films.” International Conference on Visual Culture. Visual Culture Research Center, National Central University, Taiwan, 24-26 October 2013.

• “Marketization, Hollywood, Global China.” International Association of Intercultural Communication Studies, Vladivostok, Russian Federation. Far East Federal University, 3-6 October 2013.

• Featured speaker. “Second Coming: the Legacy of Taiwan New Cinema.” UM Center for Chinese Studies noon lecture series. University of Michigan, 29 November 2011 (by invitation).

• Featured speaker. “Mirror Images or Impersonation? Chinese Film Industry and Hollywood.” Cinema Pacific: China Film Industry Symposium. University of Oregon, Eugene, 7 April 2011 (by invitation).

• “Music(al) Events in Chinese Cinema.” Chinese Cinemas Conference. Duke University, Raleigh-Durham, NC, 15-16 April 2011 (by invitation). Discussant. Symposium on Hou Hsiao-hsien. Nagoya University and Kansai University of Foreign Languages, Nagoya/Kobe, June 25-28, 2011(by invitation, in Japanese).

• “Lust, Caution: Class Acts, Transgressive Consumption.” Transnational Identity Performance in East Asian Cinema. Society for Cinema and Media Studies, Los Angeles, March 2010.

• Keynote, “High Concept & Asian Blockbusters.” International Conference on East Asian Cinema, National Taiwan University of the Arts, Taipei, December 4, 2009.

• “Lust, Caution: Cannibal, Class.” Lust/Caution: History, Narrative and Movie Language, Academia Sinica, Taipei, August 12-13, 2008 (by invitation).

Manuscripts referee:

• Hong Kong University Press, September& December 2008.

• Brill Academic Publishing, October 2007.

• University of Hawai’i Press, July 2006.

• Columbia University Press, October 2004.

• University of Hawai’i Press, June 2003.

• Senses of Cinema (online journal, Melbourne), April 2003.

• Cinema Journal, May 2002.

• Hong Kong University Press, March 2002.

• Routledge, August 2001.

• Screening the Past (online journal, LaTrobe University), July 2000.

• External referee. Tenure review. Yale University, February 2009.

• External referee. Tenure review. Dept. of East Asian Studies, University of Oregon, September 2008.

• international expert reader. Australian Research Council, May 2008 and May 2007.

• International expert reader. Israel Science Foundation, March 2007.

• External examiner. MPhil thesis, Chinese University of Hong Kong, September 2007.

• External referee. Tenure review. Dept. of Theatre and Film, University of Kansas, September 2006.

• Director of the Asia Program, Yamagata International Documentary Film Festival, January - October 1993.

• Curator, Film and Video, Honolulu Academy of Arts Museum, December 1990-December,1992.

• Mana from Heaven, compilation documentary. Screened originally at Honolulu Academy of Arts, January 1991; Lingnan University, 2008.

• Eight of my articles have been translated to Chinese; four have been translated to Japanese.

• Carsey-Wolf Fellow. Connected Viewing Initiative, Carsey-Wolf Center, University of California-Santa Barbara May 2014.

• Postdoctoral Fellowship. The Getty Center for the History of Art and the Humanities, Santa Monica, California, 1993-94.

• Winner. The Tenth Asiatic Society of Japan Essay Contest, 1993.

• Dissertation Fellowship. Joint Doctoral Research Award. Institute of Culture and Communication, East-West Center, Honolulu, Hawai’i, 1989-90.

• Winner. The Seventh US-Japan Culture Center Essay Contest, February 1988.

• Dissertation Fellowship. Wisconsin Alumni Research Foundation, 1987.

• Winner. Society for Cinema Studies Student Writing Contest, 1987.