This is not a CV. For a detailed academic resumé of Victor Fan, please contact him for further details.
Assistant Professor, Department of East Asian Studies, McGill University (Until 31 December 2012)
Lecturer, Department of Film Studies, King’s College London (Starting from1 January 2013)
Yale University, Comparative Literature and Film Studies, PhD (Also, MA, MPhil)
Football Meets Opium: A Topological Study of Political Violence, Sovereignty, and Cinema Archaeology, between “England” and “China” (Advised by Haun Saussy and Dudley Andrew)
Also studied with Thomas Elsaesser (World Cinemas, Contemporary Hollywood and Film Theory), Aaron Gerow (Japanese Cinema), Charles Musser (Historiography), Brigitte Peucker (Aesthetics, Hitchcock, and Anglo-American literature), Dudley Andrew (World Cinemas, French Literature and Film Theory), Charles Laughlin (Modern Chinese Literature) and Haun Saussy (Chinese and French Literature, Media Studies).
University of Southern California, School of Cinema-Television, Productions, MFA, 1999
Final Film (Advisor: Judy Irola; Critical Studies: David James):
The Well (Narrative), 25 mins., 16 mm
Anthology Film Archives (NewFilmmakers), 2000 (World Premier)
São Paolo International Film Festival, 2000
3rd Price, Long Narrative, Ft. Lauderdale FF, 2000
Japan Society (Selected by Sony Music to represent Americans of Japanese Heritage), 2001
George Eastman House (Nagisa Oshima Retrospect), 2002
University of Rochester, Eastman School of Music, Composition, BM (Minor in Film Studies), 1996
Studied with D.N. Rodowick (Film Theory), Joanne Bernardi (Japanese Cinema and Literature), Sharon Willis and Thomas DiPiero (Feminism and Anglo-American Literature), Paolo Cherchi-Usai (Film History)
Malvern College (England), Oxford and Cambridge Examination Board, Advanced Level
History, Philosophy and Theology, Music
Grants, Fellowships and Scholarships
Association for Asian Studies—China and Inner Asia Council, 2012-13: The Chinese Film Theory Reader
Fonds de recherche sur la société et la culture, 4/2011-3/2014: Au-dessus du classicisme: Le cinéma chinois et Hollywood
Samuel K. Bushnell Fellowship 9/2008-8/2009
Eastman School of Music Scholarship 9/1992-6/1996
Grant in Process
Hong Kong Arts Development Council, General Project Grant: Xianggang yueyu shengpian yu wenhua yujing: mengya, fazhan ji zhengzhi zhang’ai (The Hong Kong Cantonese Sound Film Industry and Cultural Discourse: Emergence, Development and Political Obstacles, 1930-49).
Fields of Concentration
- Chinese Cinema (comprehensive; with special interests in Chinese film theory; Shanghai cinema in the 1930s; Hong Kong Cantonese cinema; the Hong Kong New Wave; Contemporary Sino-Hollywood Co-Production);
- World cinemas;
- Hollywood cinema;
- Chinese literature (modern and contemporary);
- Political theory and philosophy (violence and sovereignty; colonialism and post-colonialism; gender and queer studies);
- European and American theory of literature, film, and media;
Language Skills Other than English
Chinese (Mandarin and Cantonese; Native); French (Secondary)
Current Book Projects
Beyond Entertainment: Chinese Cinema and Its Failure of Politicization—Studio Business, State Policy, Film Theory, Textual Performance and Hollywood Distribution, 1930-42
The Hong Kong Cantonese Sound Film Industry and Cultural Discourse: Emergence, Development and Political Obstacles, 1930-42
Future Project Plans
Contemporary Hollywood Film as a Performance of Political Failure
Cinema of Statelessness
Current Edited Volume
The Chinese Film Theory Reader, co-ed. with Jason McGrath (U of Minnesota) and Guo-Juin Hong (Duke U) (Amsterdam: University of Amsterdam Press, expected 2014).
Academic Publications (Peer-Reviewed)
“Approaching Reality: Epistemic Distance, Political Crises and Temporal Imaginations in the Sino-French Dialogue on Cinema Ontology,” in World Picture Journal, no. 7 (2012), http://www.worldpicturejournal.com/WP_7/Fan.html.
“The Poetics of Addiction: Stardom, ‘Feminized’ Spectatorship, and Inter-Regional Business Relations in the Twilight Series,” in Camera Obscura 27.1 (2012): 31-67, http://cameraobscura.dukejournals.org/content/27/1_79/31.abstract.
“Redressing the Inaccessible through the Re-Inscribed Body: In the Year of 13 Moons and Bad Education,” in A Companion to Rainer Werner Fassbinder, ed. Briggitte Peucker (Hoboken: Wiley-Blackwell, 2012), 118-41, http://onlinelibrary.wiley.com/doi/10.1002/9781118275733.ch7/summary.
“The Cinema of Sun Yu: Ice Cream for the Eye … but with a Homo sacer,” in Journal of Chinese Cinemas 5.3 (2011): 219-51, http://www.intellectbooks.co.uk/journals/view-Article,id=12258/.
“New York Chinatown Theatres under the Hong Kong Circuit System,” in Film History 22 (2010): 108-26, http://www.jstor.org/discover/10.2979/FIL.2010.22.1.108?uid=29223&uid=3739464&uid=2129&uid=29217&uid=2&uid=70&uid=3737720&uid=3&uid=67&uid=18764168&uid=62&sid=21101360655297
“The Unanswered Question of Forrest Gump,” in Screen 49.4 (2008), 450-61, http://screen.oxfordjournals.org/content/49/4/450.abstract.
“English Football and Its Hong Kong Television Audience,” in CLCWeb: Comparative Literature and Culture: A WWWeb Journal 8.1 (2006), http://docs.lib.purdue.edu/clcweb/vol8/iss1/3/.
“Cantonese Cinema: Industrial Crisis and Reconstruction: 1930-57,” in New Angles of Chinese Film History, ed. Jason McGrath (New York: Routledge, c. 2014).
Articles in Production (to be submitted in 2012-2013)
“Sex and Its Ideological Consciousness: The Hard Film Theory and the Mingxing Films, 1933-37,” article submitted in July 2012.
“‘Klaine’ and Its Poetics of Addiction: Shared Traumas and Mutual Understanding between Queer Teen Viewers and the 30-49 Demographic in Glee,” abstract submitted in August 2012.
“An Alternative Mode of Realism?: Theoretical Debates on Hong Kong Cantonese Cinema, 1960-82,” presented in the Permanent Seminar on Histories on World Film Theories, 2012, under revision, to be submitted in November 2012.
“State Policy, Studio Business, Distribution and Reception of Hollywood Films in the People’s Republic of China,” co-authored with J.D. Connor (Yale University), work in progress, to be submitted in 2013.
“Xie Jin and Same-Sex Love,” work in progress, to be submitted in December 2012.
“Just a Kid from Brooklyn: Captain America and New York Identity,” work in progress, to be submitted in January 2013.
"Xianggang yingpinren yanzhong de Taiwan xin dianying" (Taiwanese New Cinema in the Eyes of the Hong Kong Film Critics), to be submitted in April 2013.
“Victor Fan on Cities Surround the Countryside: Urban Aesthetics in Postsocialist China,” in Screening the Past 29 (2010), http://www.latrobe.edu.au/screeningthepast/29/cities-surround-the-countryside.html.
“Victor Fan on Film Theory and Contemporary Hollywood Movies,” in Screening the Past 28 (2010), http://www.latrobe.edu.au/screeningthepast/28/film-theory-and-contemporary-hollywood-movies.html.
“Victor Fan on Hong Kong New Wave Cinema (1978-2000), in Screening the Past 26 (2009), http://www.latrobe.edu.au/screeningthepast/26/hong-kong-new-wave-cinema.html.
Pending Book Review
“On The Libertine’s Friend: Homosexuality and Masculinity in Late Imperial China,” in Journal of the Society for Ming Studies.
Asian Media Critique Stream, Positions (1st issue expected in 2014).
Peer Reviewer for the Following Publications and Journals
McGill Journal of Education
Huhua Cao and Vivienne Roy, ed., The China Challenge: Sino-Canadian Relations in the 21st Century (Ottawa: University of Ottawa Press, 2011).
Articles in Printculture (http://www.printculuture.com)
Printculture is a communal blog (fellow contributors including Haun Saussy and Eric Hayot). These articles were written in both journalistic and academic formats, depending on the subject matters and research backgrounds. Some of these articles are under revisions for the purpose of being published in academic journals. I hereby provide a list of their titles, for some of them may give you an idea on the areas of research that I am undertaking.
“The Invisible Native-American Spectator(s)” (9 October 2012); “All About Glee” (11 December 2011); “Poetics of Addiction [On Twilight] (4 April 2010); “The Genius and the Aura” [On Gustavo Dudamel] (15 October 2009); "Whose Trauma is It?: Reading Inglourious Basterds" (28 September 2009); “From The Paradine Case to Prop 8” (19 August 2009); “Cat and Mouse” [On Animal Consciousness] (17 July 2009); “The Grand Finale” [On Mahler’s Symphony No. 8] (27 June 2009); “Re-Reading This Sporting Life” (23 June 2009); “Is Hero a Sellout?” (13 June 2009); “On ‘Lust, Caution’ (The Novella)” (18 May 2009); “The Nocturne” [On Chopin] (1 May 2009); “The Christ that Remains” [On Nicholas Ray’s King of Kings] (26 April 2009); “Rethinking Broken Blossoms through Canhua lei” (12 April 2009); “The Cinema of Sun Yu” (6 April 2009); “Logan’s Doubt (In Kang Youwei’s Parallel Universe)” [On Logan’s Run and Kang Yougwei] (30 March 2009); “On Tom Brown’s School-Days” (23 March 2009); “Hawks and Sparrows” [On the Cinema of Pasolini] (16 March 2009); “Whose Funny Valentine? Part 2” (On Slumdog Millionaire) (24 February 2009); “The Post-Mortem Life of Music” (14 December 2008); “What is Truly Absent from the Beijing Olympics?” (12 August 2008); “Football and ‘Modern Slavery’” (18 July 2008); “Euro 2008” (5 July 2008).
“État actuel du cinéma de la Chine continentale: vers une reconfiguration de la création et de la production,” in 24 Images, no. 155 (2012), http://www.revue24images.com/archives.php?type=extraits&edition=155.
In Film Festival Reporter (later known as Film Festival Today): 2000-2004; Covering the African-Diaspora Film Festival, New York Underground Film Festival, MIX New York Lesbian and Gay Experimental Film Festival, Gen Art, and MOXIE Film.
“Wu feilin dianyin” 〈無菲林電影〉 (Cinema without Film), in Tupo shaonian 《突破少年》 (Breakthrough: Youth Edition) (Hong Kong, 1995).
Teaching and Lecturing Experience
Approaches to Chinese Cinema (Fall 2012, 2010)
Hong Kong Cinema in the 1980s (Fall 2012)
Queer Readings of Chinese Cinema (Winter 2012)
Post-Mao Chinese Literature (Winter 2012)
Modern Chinese Literature (Fall 2011)
Chinese Cinema Meets Hollywood (Fall 2011)
Chinese Film Theory (Winter 2011)
Chinese Action Film (Fall 2010)
Yale University, Summer Film Institute: “Action Cinema: From Hollywood to East Asia and Back Again” (2007)
• Ph.D. Thesis
Luke Vulpiani, Chinese Cinema in the Era of Late Capitalism, from 2014.
• MA Thesis
Liu Hui, Chinese Black Comedy (Working title), from 2014.
• BA Thesis
Sean Webb, “Renegotiating ‘China’ and the ‘World’: Realism in Jia Zhangke’s The World and Still Life,” BA thesis, 2011.
Casimir Kaplan, Taiwanese Punk Rock Culture (BA thesis, Working title), expected 2013.
• Independent Studies
Vincent Tao, Political Activism and Aesthetics (Working title), expected 2013.
Claire Stewart, Anna May Wong and Her Costume Design (Working Title), expected Fall 2013.
Manuel Roman, Independent Film Production in Hong Kong, Winter 2011.
Jacks Cheng, Sociolinguistics in Taiwan Cinema, Winter 2012.
Yale University, Film Studies
Art and Industry in Contemporary Hollywood (J.D. Connor, 2009)
Modes of Filmmaking (Ron Gregg, Lisa Molomot, 2008)
Introduction to Film Studies (Aaron Gerow, 2008)
Contemporary Film Theory (Thomas Elsaesser, 2007)
Yale University, Theatre Studies
Survey of Theater and Drama (Specialist in the bunraku, history and co-ordinator of performance; Joseph Roach, 2006)
(Also Recommended by Roach for the World Theater Project as a Teaching Fellow and Guest Performer, 2007)
Yale University, English Department
The Victorian Novel (Ruth Yeazell, 2010)
Yale University, Film Studies
Cinema and Theatricality, Brigitte Peucker (Fall 2009)
“Hollywood and China––A Many Splendored Thing,” Confucius Institute in Quebec, Montreal, April 28 and May 4, 2011.
“The Rise and Fall of Sun Sing Theatre,” Museum of Chinese in America, New York, December 16, 2010.
Guest Lectures in Classes
McGill University, Anthropology: “Orientalism Takes Effort: Business and Readings of the Fifth Generation Films” (2010; 2011, 2012)
Georgia Institute of Technology, Humanities: “Japanese Bunraku and the Japanese New Wave” (2008)
Smith College, Film Studies, “Women in Japanese Horror Films” (2007)
Yale University, Summer Film Institute, “History of Hong Kong Cinema and Negotiations of Modernity” (2005 and 2006)
Teaching in Secondary Education
OSA America (2000-09)
7-8th Grade Introduction to Literary Theory and Cultural Issues (Summer Intensive);
Independent Reading and Writing Coach; 4-8 Gr. NY Statewide Test Preparations;
PSAT, SAT Preparations (Reading and Math)
Florentine Music School (2002): Piano, Cello, and Music Theory
Departmental and University Services
2010-2012 McGill Equity Subcommittee on Queer People, member since 2010, Chair since 2011
2011-present Joint-Board Senate Committee on Equity
2011-present Staff-Student Mentorship Program, Student Services,
2012 Fall Member, Language Committee
2011-12 Member, Committee on Fellowships
2011-12 Member, Curriculum Committee
2010-11 Member, Website Committee
2010-11 Centre for East Asian Research Speakers Series Coordinator
2011 Winter Selection of Students to Visit Taiwan in Summer 2011
2011-12 Member, Gretta Chambers in East Asian Art History Search Committee
2010-2012 Participant, World Cinema Programme
Events & Administrative Works at Yale
Funding and Acquisition for the ACT-UP Oral Project (Jim Hubbard, 2006).
Films of Fury (Festivals of Chinese Martial Arts Films, 2007-09; invitation for David Desser).
First Annual Graduate Conference on Super-Heroes in Action Cinema (2009; invitation for Scott Bukatman)
Invitation for Jim Hubbard for Ron Gregg’s course on queer cinema
Conferences and Professional Events
Permanent Seminar on the Histories of Film Theories, Ann Arbor, September 2012
“An Alternative Mode of Realism?: Theoretical Debates on Hong Kong Cantonese Cinema, 1960-82."
Politics of Potentiality, McGill University, Department of East Asian Studies, May 2012
"Han Han and the Performance of His Political Failure."
Society of Cinema and Media Studies
“Double Occupancy and Nationalism: Contesting Notions of Citizenship in Chinese-Hollywood Co-Production of the Historical Epic” (2011).
“Cantonese Cinema: Industrial Crisis and Reconstruction, 1937-54” (2012).
Association for Asian Studies
“Open Discourses on Sexuality in Shanghai Film Writing and Criticism in the 1930s” (2012).
Le Giornate del Cinema Muto, Pordenone (2010, 2012)
Shifting Language Registers in Late Qing/Republican China (McGill University, 2010)
“Hollywood, Film Theory, and Domestic Scandal: Linguistic Registers and the Negotiation of Female Sexualities in Cinematic Discourses.”
Asia in Motion (Yale University, 2009)
“Sports, ‘Cinema,’ and the Myth of a Haunting Dream.”
American Comparative Literature Association
“Shanghai and the World: Double Negotiation between Cinema and Literature in the 1930s” (March-April 2011).
“Too Close to Touch, Too Painful to Remember: Donnie Darko” (2008).
“Agamben and Photogénie” (2006).
“Football and Hong Kong Television Audience” (2005).
North American Society of Sociology of Sports
“Opium and Football” (2005).
Princeton University, Comparative Literature Graduate Student Conference
“Homosexuality and Early Hitchcock Cinema” (2007).
Chicago University, Sociology Student Conference
“Racism in English Football” (2005).
Indiana, Bloomington, French and Italian Literature
“English Hooliganism and Italian Ultras” (2005).
CUNY, Graduate Center, Comparative Literature
“Kenneth Anger and Ambiguity” (2005).
Community Involvement: Professional Memberships
Association of Asian Studies
Society of Cinema and Media Studies
American Comparative Literature Association
Composers and Authors’ Society of Hong Kong
Solar Film/Video Productions, Sound and Music Advisor (2004)
Fissionarts, Sound and Music Advisor (2001-03)
HUM Music + Sound Design, Intern (1999-2000)