个人简介

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.Professional ExperienceHe 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.EducationMA/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.Courses Regularly TaughtHe 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.

研究领域

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 《当代电影》 .

近期论文

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].