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,
|“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.
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),
Big Dying Vat’: The Vilifying of Shanghai during the Good Eighth
Company Campaign.” Modern China 31, no. 4 (October 2005):
Cinema in the Age of Commercials Advertisement: the Filmmaker as a Cultural
Broker.” China Quarterly 183 (September 2005): 549–564.
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,
Real Time to Virtual Reality: Chinese Cinema in the Internet Age,”
of Contemporary China 12, no. 38 (2004): 89-104.
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>>)
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).
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).
at a Standstill: Street-Smart History in Jiang Wen's In the Heat of
the Sun,” Screen
42, no. 4 (winter 2001): 350-362.
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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