Yomi Braester -- selected academic papers

  (a full list of publications available upon request)

  “A Genealogy of Cinephilia in the Maoist Period,” in The Oxford Handbook of Chinese Cinemas, edited by Eileen Chow and Carlos Rojas (Oxford University Press, forthcoming).

  “The Architecture of Utopia: From Rem Koolhaas’s Scale Models to RMB City.” In The Spectacle and the City, edited by Jeroen de Kloet and Lena Scheen (Amsterdam University Press, forthcoming).

  “From Urban Films to Urban Cinema: The Emergence of a Critical Concept,” in A Companion to Chinese Cinema, edited by Yingjin Zhang (Blackwell, forthcoming).

  “Excuse Me, Your Camera Is in My Face: Auteurial Intervention in PRC New Documentary,” in The New Chinese Documentary Film Movement: For the Public Record, edited by Lisa Rofel, Chris Berry and Lü Xinyu (Hong Kong University Press, 2010).

  “Photography at Tiananmen: Pictorial Frames, Spatial Borders, and Ideological Matrixes,” positions: east asia cultures critique 18, no. 3 (Winter 2010): 633–70.

  “In Search of History Point Zero: Stan Lai’s Drama and Taiwan’s Doubled Identities,” Journal of Contemporary China 17, no. 57 (November 2008): 689–98.

  “The Political Campaign as Genre: Ideology and Iconography during the Seventeen Years Period,” Modern Languages Quarterly 69, no. 1 (March 2008): 119–140.

  “The Impossible Task of Taipei Films,” in Cinema Taiwan: State of the Art, States of the Mind, edited by Darrel Davis and Robert Chen (Routledge, 2007), 51–59.

  Tracing the City's Scars: Demolition and the Documentary Impulse in New Urban Cinema,” in The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century, edited by Zhen Zhang (Duke UP, 2007), 161–180.

  “‘A Big Dying Vat’: The Vilifying of Shanghai during the Good Eighth Company Campaign.” Modern China 31, no. 4 (October 2005): 411–447.

  “Chinese Cinema in the Age of Commercials Advertisement: the Filmmaker as a Cultural Broker.” China Quarterly 183 (September 2005): 549–564.

  “Longxugou—chengshi jingguan yu lishi jiyi” (Dragon Whiskers Creek: Urban Spectacle and Historical Memory), in Beijing: Dushi xiangxiang yu wenhua jiyi (Beijing: Urban imagination and cultural memory), eds. Chen Pingyuan and Wang Dewei (Beijing: Beijing daxue chubanshe, 2005), 410–431.

  “Tales of a Porous City: Public Residences and Private Streets in Taipei Films,” in Contested Modernities in Chinese Literature, ed. Charles Laughlin (Palgrave, 2005), 157–170.

  From Real Time to Virtual Reality: Chinese Cinema in the Internet Age,Journal of Contemporary China 12, no. 38 (2004): 89-104.
  Farewell My Concubine: National Myth and Personal Memories,” in Chinese Films in Focus: 25 New Takes, ed. Chris Berry (British Film Institute, 2003), 89-96. (read a review>>)
  “'If We Could Remember Everything, We Would Be Able to Fly': Taipei's Cinematic Poetics of Demolition,” Modern Chinese Literature and Culture 15, no. 1 (Spring 2003).
  “The Future of China's Memories: An Interview with Feng Jicai,” Journal of Modern Literature in Chinese 5, no. 2 (January 2002): 131-48 (with Enhua Zhang).
  “Memory at a Standstill: Street-Smart History in Jiang Wen's In the Heat of the Sun,” Screen 42, no. 4 (winter 2001): 350-362.
  “Revolution and Revulsion: Ideology, Monstrosity and Phantasmagoria in Ma-Xu Weibang's Film Song at Midnight,” Modern Chinese Literature and Culture 12: 1 (Spring 2000): 81-114.
  “Taiwan rentong yu jiyi de weiji: Jiang hou de shenqi gushi” (Taiwanese Identity and the Crisis of Memory: Post-Chiang Mystery), in Liu Jihui, ed., Duanlie yu yanxu: Taiwan wutai shang wenhua jiyi de zhanyan (Disruption and continuity: the development of cultural memory on the Taiwan stage) (Maitian, 2000).

“Shanghai's Economy of the Spectacle: The Shanghai Race Club in Liu Na'ou's and Mu Shiying's Stories,” Modern Chinese Literature 9:1 (Spring 1995): 39-57.    
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