In order to facilitate scholarly dialogue and disseminate the presentations at scholarly exchanges, Nanjing University and Brown University have committed to a number of publications.
Journal of Gender Theory and Culture
Volume One: Inaugural Issue (Chinese)
Nanjing University Press, 2010
Issue features papers from the Symposium on Feminist Theory and Gender Studies (June 24-25, 2008), organized by: Theories of Women and Gender, Gender Studies as an Interdisciplinary Subject, and Cross-cultural Gender Studies.
Co-edited by Chengzhou He and Lingzhen Wang
Volume Two: Gender and Chinese Cinema (Chinese)
Nanjing University Press, 2012
This issue contains ten critical essays by well-known and promising young international scholars, discussing issues related to gender, sexuality, revolution, and modernity in Chinese cinema.
Co-edited by Chengzhou He and Lingzhen Wang.
Special Issue of differences: A Journal of Feminist Cultural Studies
Other Genders, Other Sexualities? Chinese Differences (English)
Lingzhen Wang, special issue editor
The study of Chinese women and gender since the 1980s has both enriched and complicated gender research and feminist theory in a global context, highlighting the significance of cultural and geopolitical differences in configuring gender and sexuality in the world. Most English scholarship on Chinese gender and sexuality has, for various purposes, centered on China as a distinctive political or cultural entity different from the West. This special issue focuses rather on the differences within China, probing the dynamics and complexity of differences in the history of Chinese gender (trans)formations. It interrogates some of the earlier, totalising perspectives in Chinese gender studies and reveals the competing discursive forces that constitute the overdetermined history of Chinese gender and sexuality.
This special issue brings together six essays that explore Chinese gender formations from diverse theoretical approaches. Topics include post-Mao feminist re-theorization of women’s emancipation and sexual differences; the emergence of early modern Chinese women as a disruptive event with the rise of commercial modernity in early 20th century China; contemporary critical reflections on the legacy of socialist gender practice and cultural representation; the commercial (re)signification of transgender performance in contemporary Chinese mass media; the cinematic articulation of political ambivalence of contemporary Chinese gay identity in relation to the Chinese state and transnational capitalism as well as neoliberal ideologies; and a re-view of the early Chinese gender configuration in East Han culture. Unique in its range and focus, this issue will generate critical insights and new perspectives for the study of Chinese history, gender and sexuality, and feminist culture.
Contributors: Li Xiaojiang, Tani Barlow, Dong Limin, Chengzhou He, Hongwei Bao, Yu Shiling, Sarah Kile, and Lingzhen Wang
Essential Readings in U.S. Feminist Theory (Chinese)
Edited by Elizabeth Weed and Chengzhou He, Nanjing University Press, 2014
Chinese Women's Cinema (English)
Edited by Lingzhen Wang, Columbia University Press, 2011
The first of its kind in English, this collection covers twenty-one well established and lesser known female filmmakers from mainland China, Hong Kong, Taiwan, and the Chinese diaspora. Sixteen scholars illuminate these filmmakers' negotiations of local and global politics, cinematic representation, and issues of gender and sexuality, covering works from the 1920s to the present. Writing from the disciplines of film, Asian, women's, and auteur studies, contributors reclaim the work of Esther Eng, Tang Shu Shuen, Dong Kena, and Sylvia Chang, among others who have transformed Chinese cinematic modernity.
This collection creates a unique transcultural, interdisciplinary conversation on authorship, feminist cinema, transnational gender, and cinematic agency and representation. Lingzhen Wang's comprehensive introduction recounts the history and limitations of established feminist film theory, particularly its relationship with female cinematic authorship and agency. She also reviews critiques of classical feminist film theory, along with recent developments in feminist practice, ultimately remapping feminist film discourse within transnational and interdisciplinary contexts. Wang's subsequent redefinition of women's cinema and brief history of women's cinematic practices in modern China encourage the reader to reposition gender and cinema within a transnational feminist configuration, especially in such a way that power and knowledge are reexamined among and across cultures and nation-states.
Gender and Chinese Cinema: New Interventions (English)
Co-edited by Lingzhen Wang and Mary Ann Doane