Chronology of Education:
Ph.D. in Film History and Theory, Communication University of China, July 2010
M.A. in Chinese Painting, Northwest Normal University,July 2004
B.A. in Chinese Painting, Xi’an Fine Arts Academy,July 1995
Chronology of Employment:
Professor, Ningbo University, 2021-Present
Associate Professor, Ningbo University, 2017-2021
Associate Professor, Zhejiang University of Science and Technology, 2012-2017 Associate Professor, Northwest Normal University, 2010-2012
Lecturer, Northwest Normal University, 1995-2010
Research Fields:
Film History and Theory, Visual Culture
Publications:
1. Art History on the Screen: Biographical Film Studies of Artists, Chongqing
University Press, 2023.
2. Film as Critical Practice: Vision, History, and Culture, Chongqing University
Press, 2020.
3. Scopophilia and Spectacle: The Visual Culture Study for Cinema Image on
Different Periods of China, Communication University of China Press，2015.
4. Pleasure in Reading, Northwest A&F University Press, 2014.
5. Electronic Gaming and Young Chinese Director, Culture and Art Publishing
House, 2014.
Selected Papers:
1. Vaguely visible authorial strategies: A study of director Han yan, Contemporary Cinema, 2023. 09.
2. A new sense: Jiangnan cinema, contemporary implication and the Chinese Film School, Contemporary Cinema , 2023. 01.
3. Building visual rivers and lakes: The hostel as a film set space and its cultural
imagination, Contemporary Cinema , 2021. 05.
4. A myth: A study of intermedia image reproduction in “The Mill and the Cross”, Art Research, 2020.05.
5. “The Wild Goose Lake”: A localization of film noir style, Contemporary Cinema , 2020. 01.
6. Besides gender: Reviewing the female directors of the 4th generation, Contemporary Cinema , 2019. 07.
7. Genre hybridity and aesthetic interest: An observation of domestic realistic film creation, Film and Television Culture, 2019.06.
8. Film screen as canvas: Analysis of “Loving Vincent”, Contemporary Animation, 2018.07.
9. Absent presence and clinging vanity: Identity narrative paradox in “Love
Education”, Contemporary Cinema , 2017. 12.
10. Dark: Culture, shape and self-renewal of Hollywood crime film visual style,
Contemporary Cinema , 2017. 08.
11. Individuality and standard: The study of Wuershan’s films in the industrial
context, Contemporary Cinema, 2016.04.
12. Ne Zha: An adolescent sacrifice with suffering and anger, Contemporary
Cinema, 2015.08.
13. The adolescent nowhere to land: An image analysis on the Ark of Mr. Chow,
Journal of China National Film Museum, 2015.07
14. Deeply attached Chinese humanistic tradition: The culture and aesthetics of
Huo Jianqi’s films, Contemporary Cinema, 2014. 12. (This paper has been
fully translated and included in the first volume of the English annual journal
Contemporary Cinema, published by INTELECT Press in the UK.)
15. The significance of values in Chinese animation, Guangming Daily, 2014.09.
16. Cooperation deeply and merge moderately: The situation of film production in
great China region, Contemporary Cinema, 2014.04
17. An exciting prospect of Chinese animation film, Guangming Daily,2014.02.
18. A blending style with solemnity and irony: An image analysis on Kong Erpi
Jin Cheng Ji, Contemporary Cinema, 2014.02
19. A varying policy research on the Chinese private film industry since the Reform and Opening-Up, Cinema & TV Culture, 2013.09.
20. Act, space, and tradition: An image analysis on the deadly bullet, Contemporary Cinema, 2013.08.
21. Genre, visual and industrial standard: Three features of Wuershan’s Films,
Journal of Zhejiang University of Media & Communications, 2013.05.
22. Recurrence of the lost things: An analysis on “The Artist”, Journal of China
National Film Museum, 2013.02.
23. Antithesis between image and narration: An image analysis on “The Blazing
Sun”, Contemporary Cinema, 2012.12.
24. A stylized practice: An image analysis on “The Agent”, Contemporary
Cinema, 2012.02.
25. Motivation and emotion: The breakthrough of mainstream film, Contemporary
Cinema, 2011.08.
26. A summary of the 10th Doctoral Forum, Contemporary Cinema, 2010.01.
27. Cinematic representation in the context of visual culture, Contemporary
Cinema, 2010.01.
28. Body fetishism, Pan-East Asianization, and the Euphoria of voluptuous breasts: An analysis on the models of representation in the recent film characters played by Gongli, Movie Review, 2009.11.
29. Ethics, aesthetics, and market: A study on the ancient magazine of Chinese
film special issue of superstar, Contemporary Cinema, 2009.06.
30. The cultural characteristics of three generations of female stars in Chinese-language films and its shift track, Journal of Shanghai University (Social Science), 2008.11.
