- "Single Women and the Men in Their Lives: Zhang Ailing and
Postwar Visual Images of the Modern Metropolis," in Christian Henriot
and Wen-hsin yeh, eds. Visualizing
China: Life/Still Images in Historical Narratives (Leiden: Brill
Publishers, forthcoming, 2012). (Co-authored with Yap Soo Ei).
- Translation of "Listen Carefully to the Voices of te Tiananmen
Mothers" (1991) and "Obama's Election, the Republican Factor, and a
Proposal for China" (2008) by Liu Xiaobo, in Perry Link, Tianchi
Martin-Liao, and Liu Xia, eds., No
Hatred, No Enemies: Selected Essays and Poems (Cambridge:
Harvard University Press, 2012), pp. 3-12, 270-274.
nian Shanghai xueshu he keyan zhi fanxiang" (Reflections on the
scholarly and research environment in Shanghai in 2010), in Shanghai
shi shehui kexue jielian he hui, ed., Shanghai
xueshu baogao (A report on the Shanghai scholarly scene)
(Shanghai: Renmin chuban se, 2011), pp. 34-43.
- “Chinese Filmmaking on the Eve of the Communist Revolution,” in
Song Hwee Lim and Julian Ward, eds., The
Chinese Cinema Book (London:
Palgrave Macmillan, 2011), pp. 76-84.
- “Independent Chinese Film: Seeing the Not-Usually-Visible in
Rural China,” in Catherine Lynch, Robert C. Marks, and Paul G.
Pickowicz, eds., Radicalism,
Revolution, and Reform in Modern China
(New York: Lexington Books, 2011), pp. 161-184.
- “Chinese Radicalism in Historical Context,” in Catherine Lynch,
Robert B. Marks, and Paul G. Pickowicz, eds., Radicalism, Revolution,
and Reform in Modern China (New York: Lexington Books, 2011),
(Co-authored with Catherine Lynch and Robert C. Marks).
- “Revisiting Cold War Propaganda: Close Readings of Chinese and
American Film Representations of the Korean War,” Journal of
American-East Asian Relations, vol. 17, no. 4, 2010. pp. 352-371.
Chinese edition: “Zhong-Mei
dianying zhong de Chaoxian zhanzheng xingxiang,” Zhongguo dangdai shi
yanjiu, no. 3, August 2011), pp. 249-266.
- “Centers and Margins in Chinese History,” in Sherman Cochran and
Paul G. Pickowicz, eds., China on
the Margins (Ithaca: Cornell
University East Asia Series, 2010), pp. 1-13. (Co-authored with Sherman
- “China’s Soft Power: The Case for a Critical and
Multi-dimensional Approach,” China
Review International, vol. 16, no.
4, 2009, pp. 439-455.
- “Issues in Contemporary Chinese Family Law: Media and Field
Evidence,” in Harry N. Scheiber and Luarent Mayali, eds., Japanese
Family Law in Comparative Perspective (Berkeley: The Robbins
Collection, 2009), pp. 259-271.
- “Exhibiting Chinese Cinemas, Reconstructing Reception,” Journal
of Chinese Cinemas, vol. 3, no. 2, 2009, pp. 99-107.
- “Three Readings of Hong Kong
Nocturne,” in Poshek Fu, ed., China
Forever: The Shaw Brothers and Diasporic Cinema (Urbana:
Illinois Press, 2008), pp. 95-114.
Chinese edition: “Xiangjiang
huayue ye de san zhong jiedu,” in Liu Hui, Fu Baoshi, Xianggang de
‘Zhongguo’: Shao shi dianying. Xianggang: Niujin daxue chuban
- “Acting Like Revolutionaries: Shi Hui, the Wenhua Studio, and
Private-Sector Filmmaking, 1949-52,” in Jeremy Brown and Paul G.
Pickowicz, eds., Dilemmas of
Victory: The Early Years of the People’s
Republic of China (Cambridge: Harvard University Press, 2007),
Chinese edition: “Xiang gemingzhe
yiyang yanxi: 1949-52 nianjian de Shi Hui, Wenhua yingye gongsi, he
siying dianying zhippianchang,” in Zhou Jierong, Bi Kewei, Shengli de
kunjing: Zhonghua renmin gongheguo de zuichu suiyue. Xianggang:
Zhongwen daxue chuban she, 2011, pp. 271-302.
- “The Early Years of the People’s Republic of China: An
Introduction,” in Jeremy Brown and Paul G. Pickowicz, eds., Dilemmas of
Victory: The Early Years of the People’s Republic of China
Harvard University Press, 2007), pp. 1-18, 387-389. (Co-authored with
Chinese edition: “Zhonghua renmin
gongheguo de zuichu suiyue: yinlun,” in Zhou Jierong, Bi Kewei, Shengli
de kunjing: Zhonghua renmin gongheguo de zuichu suiyue.
Xianggang: Zhongwen daxue chuban she, 2011, pp. 1-19.
- “Chunjiang yihen de
shishi feifei yu lunxian shiqi de Zhongguo
dianying” (Never-ending Controversies: The Case of Remorse in Shanghai
and Occupation Era Chinese Filmmaking), Wenyi yanjiu (Literature and
Art Research), no. 1, 2007, pp. 105-113.
- “From Yao Wenyuan to Cui Zi’en: Film, History, Memory,” Journal of Chinese Cinemas, vol. 1,
no. 1, 2007, pp. 41-53.
- “Rural Protest Letters: Local Perspectives on the State’s
Revolutionary War on Tillers, 1960-1990,” in Ching Kwan Lee and Guobin
Yang, eds., Re-visioning the Chinese
Revolution: The Politics and
Poetics of Collective Memories in Reform China (Stanford:
University Press, 2007), pp. 21-49.
- “Zheng Junli, Complicity and the Cultural History of Socialist
China, 1949-1976,” The China
Quarterly, no. 188, December 2006, pp.
- “Social and Political Dynamics of Underground Filmmaking in
China,” in Paul G. Pickowicz and Yingjin Zhang, eds., From Underground
to Independent: Alternative Film Culture in Contemporary China
York: Rowman and Littlefield, 2006), pp. 1-21.
- “The Chinese Cultural Revolution as History,” in Joseph Esherick,
Paul G. Pickowicz, and Andrew Walder, eds., The Chinese Cultural
Revolution as History (Stanford: Stanford University Press,
1-28 (Co-authored with Joseph Esherick and Andrew Walder).
- “Women and Wartime China: The Strange Case of Tian Han’s Liren
xing,” in Christian Henriot and Wen-hisn Yeh, eds., In the Shadow of
the Rising Sun: Shanghai under Japanese Occupation, 1937-1945.
(Cambridge: Cambridge University Press, 2004), pp. 346-361.
- “Pa Chin’s Cold Nights
and China’s Wartime and Postwar Culture of
Disaffection,” in Pa Chin, Cold
Nights (Chinese-English Bilingual
Edition) (Hong Kong: The Chinese University Press, 2002), pp.
- “Village Voices, Urban Activists: Women, Violence, and Gender
Inequality in Rural China,” in Perry Link, Richard Madsen, and Paul G.
Pickowicz, eds., Popular China:
Unofficial Culture in a Globalizing
Society (New York: Rowman and Littlefield, 2002), pp. 57-87
(Co-authored with Liping Wang).
- “Introduction to Popular China,”
in Perry Link, Richard Madsen,
and Paul G. Pickowicz, eds., Popular
China: Unofficial Culture in a
Globalizing Society (New York: Rowman and Littlefield, 2002),
(Co-authored with Perry Link and Richard Madsen).
- “On Kirk Denton’s The
Problematic of Self in Modern Chinese
Literature: Hu Feng and Lu Ling,” Harvard Journal of Asiatic Studies,
vol. 60, no. 2, December 2000, pp. 638-646.
- “Filme und die Legitimation des Staates im Heutigen China”
(Filmmaking and the State’s Quest for Legitimacy in Contemporary
China), in Kai Vockler and Dirk Luckow, eds., Peking, Shanghai,
Shenzhen: Stadte des 21. Jahrhunderts (Beijing, Shanghai,
Cities of the 21st Century) (Frankfurt: Campus Verlag GmbH, 2000), pp.
- “Victory as Defeat: Postwar Visualizations of China’s War of
Resistance,” in Wen-hsin Yeh, ed., Becoming
Chinese: Passages to
Modernity and Beyond, 1900-1950 (Berkeley: University of
Press, 2000), pp. 365-398.
- “Remembering a Holocaust: Post-War Film Portraits of the War of
Resistance,” in Proceedings of
the Centennial Symposium on Sun
Yat-sen’s Founding of the Kuomintang for Revolution (Taipei:
Historical Commission, 1995), vol. 3, pp. 117-146.
- "Velvet Prisons and the Political Economy of Chinese Filmmaking,"
in Deborah Davis, Richard Kraus, Barry Naughton, and Elizabeth Perry,
eds., Urban Spaces: Autonomy and
Community in Contemporary China
(Cambridge: Cambridge University Press, 1995), pp. 193-220.
- "Memories of Revolution and Collectivization in China: The
Unauthorized Reminiscences of a Rural Intellectual," in Rubie S.
Watson, ed., Memory, History, and
Opposition under State Socialism
(Sante Fe: School of American Research Press, 1994), pp. 127-147.
- "Huang Jianxin and the Notion of Postsocialism," in Nick Browne,
Paul G. Pickowicz, Vivian Sobchack, and Esther Yau, eds., New Chinese
Cinemas: Forms, Identities, Politics (Cambridge: Cambridge
Press, 1994), pp. 57-87.
- "Sinifying and Popularizing Foreign Culture: From Maxim Gorky's The Lower Depths to Huang Zuolin's Ye dian," Modern Chinese Literature,
vol. 7, no. 2, Fall 1993, pp. 7-31.
- "Melodramatic Representation and the 'May Fourth' Tradition of
Chinese Cinema," in Ellen Widmer and David Der-wei Wang, eds., From May
Fourth to June Fourth: Fiction and Film in Twentieth Century China
(Cambridge: Harvard University Press, 1993), pp. 295-326, 425-428.
Chinese edition: “Tongsu ju,Wusi
chuantong yu Zhongguo dianying,” in Zheng Shusen, ed., Wenhua piping yu
Huayu dianying (Taibei: Mai tian, 1995), pp. 35-67.
- "The Theme of Spiritual Pollution in Chinese Films of the 1930s,"
Modern China, vol. 17, no.
1, January 1991, pp. 38-75.
- "The Chinese Anarchist Critique of Marxism-Leninism," Modern China, vol. 16, no. 4,
October 1990, pp. 450-467.
- "Popular Cinema and Political Thought in Post-Mao China:
Reflections on Official Pronouncements, Film, and the Film Audience,"
in Perry Link, Richard Madsen, and Paul G. Pickowicz, eds., Unofficial
China (Boulder: Westview Press, 1989), pp. 37-53.
- "Introduction to Unofficial
China," in Perry Link, Richard
Madsen, and Paul G. Pickowicz, eds., Unofficial China (Boulder:
Westview Press, 1989), pp. 1-13 (Co-authored with Perry Link and
- "The Limits of Cultural Thaw: Chinese Cinema in the Early 1960s,"
in Chris Berry, ed., Perspectives on
Chinese Cinema (Ithaca: Cornell
University East Asia Papers, 1985), pp. 97-148.
- Introduction to and Translation of "Cries from Death Row" (1980)
by Jin Yan-hua and Wang Jing-quan, in Perry Link, ed., Stubborn Weeds:
Popular and Controversial Literature after the Cultural Revolution
(Bloomington: Indiana University Press, 1983), pp. 96-114.
- Introduction to and Translation of "Realism Today" (1943) by Hu
Feng, in Kai-yu Hsu, ed., The
Literature of the People's Republic of
China (Bloomington: Indiana University Press, 1980), pp. 62-67.
(Reprinted in Kirk A. Denton, ed., Modern
Chinese Literary Thought:
Writings on Literature, 1893-1945 [Stanford, Stanford University
Press], 1996, pp. 485-490.)
- "Qu Qiubai's Critique of the May Fourth Generation: Early Chinese
Marxist Literary Criticism," in Merle Goldman, ed., Modern Chinese
Literature in the May Fourth Era (Cambridge: Harvard University
1977), pp. 351-384, 446-449.
Chinese edition: "Qu Qiubai dui
'Wusi' yidai de piping: Zhongguo zaoqi de Makesizhuyi wenxue piping,"
in Jia Zhifang, ed., Zhongguo xiandai
wenxue de zhuchao (Shanghai:
Fudan daxue chuban she, 1990), pp. 184-207.
- "Ch'u Ch'iu-pai and the Chinese Marxist Conception of
Revolutionary Popular Literature and Art," The China Quarterly, no. 70,
June 1977, pp. 296-314.
- "Lu Xun Through the Eyes of Qu Qiu-bai: New Perspectives on
Chinese Marxist Literary Polemics of the 1930s," Modern China, vol. 2,
no. 3, July 1976, pp. 327-368.
- Introduction to and Translation of "Who's 'We'?" (1932) and "The
Question of Popular Literature and Art" (1932) by Qu Qiu-bai, Bulletin
of Concerned Asian Scholars, vol. 8, no. 1, January-March 1976,
45-52. (Reprinted in John Berninghausen and Ted Huters, eds., Revolutionary Literature in China: An
Anthology [New York: M.E. Sharpe,
1977], pp. 44-51 and in Kirk A. Denton, Modern Chinese Literary
Thought: Writings on Literature, 1893-1945 [Stanford: Stanford
University Press, 1996], pp. 418-427.)
- "Ch'u Ch'iu-pai: Die Verbindung von Politik und Kunst in der
chinesischen Revolution," in Peter J. Opitz, ed., Die Sohne des
Drachen: Chinas Weg vom Konfuzianismus zum Kommunismus (Munchen:
List Verlag, 1975, pp. 292-321, 368-370.
- "Modern China's Artistic and Cultural Life," The Holy Cross Quarterly, vol. 7,
nos. 1-4, June 1975, pp. 108-116.
- "Cinema and Revolution in China: Some Interpretive Themes," American Behavioral Scientist, vol.
17, no. 3, January-February 1974,
pp. 328-359. (Reprinted in Barbara Tulloch, ed., Conflict and Control
in the Cinema [Melbourne: The Macmillan Company, 1977], chapter
- "People, Politics, and Paramedicine in China," in Guenter Risse,
ed., Modern China and Traditional
Chinese Medicine (Springfield:
Charles C. Thomas Publisher, 1973), pp. 124-146.
- "William Wood in Canton: A Critique of the China Trade Before the
Opium War," Essex Institute
Historical Collections, Vol. CVII, No. 1,
January 1971, pp. 3-34.