Ph.D., University of Cambridge (Oriental Studies)
M.Phil., University of Cambridge (Oriental Studies)
PGDE, Nanyang Technological University (Education)
B.A., National Taiwan University (Chinese Literature)
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Song Hwee LIM received his MPhil and PhD at the University of Cambridge. He taught at the universities of Leeds and Exeter for over ten years before coming to The Chinese University of Hong Kong (CUHK) in January 2014. Lim is the recipient of a CUHK Research Excellence Award in 2016/17 and an Honorary Research Fellow at the University of Exeter. He is Visiting Fellow at Clare Hall, Cambridge, from January to July 2018.
Lim is the author of four books (two single-authored, two co-edited) whose pioneering research on slow cinema, world cinema, and queer cinema has opened up new areas of critical inquiry. His first monograph, Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas (2006), has been praised as “an exemplar of quality scholarship”, “thoughtful, rigorous, and challenging”, and “significantly rais[ing] the bar for future studies on Chinese cinemas and sexualities”. His second book, Tsai Ming-liang and a Cinema of Slowness (2014), has been hailed as a “magisterial study” and “remarkable”, an “indispensable contribution to modern film scholarship” and “to the development of ‘slow cinema studies’ as an academic subfield”. It has been translated into Chinese.
As founding editor of the international peer-reviewed Journal of Chinese Cinemas (published since 2007), Lim has been instrumental in establishing the study of Chinese cinemas as an academic subfield. His two co-edited books, The Chinese Cinema Book (2011) and Remapping World Cinema: Identity, Culture and Politics in Film (2006), have been widely adopted on film courses in Anglophone universities. Lim has also played a leading role in fostering research collaboration, being the Principal Investigator of an international networks project “Chinese Cinemas in the 21st Century: Production, Consumption, Imagination” funded by the Leverhulme Trust (UK) between 2012 and 2013. He has held visiting fellowships at Academia Sinica (Taiwan), Free University Berlin, National Chiao Tung University (Taiwan), and National University of Singapore, and has delivered keynote lectures in Australia, Britain and China.
Lim’s research and teaching interests encompass many areas of cultural studies, including gender and sexuality studies, postcolonial and diaspora studies, critical theory, as well as questions of time, space, and identity. He is currently working on the manuscript of his third single-authored monograph, “Taiwan New Cinema as Soft Power: Authorship, Transnationality, Historiography”. He is a steering committee member of an Arts and Humanities Research Council (UK) international network project on “Soft Power, Cinema and the BRICS” (2016-2018).
Song Hwee Lim. Tsai Ming-liang and a Cinema of Slowness. Honolulu: University of Hawaii Press, 2014.
_____. Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas . Honolulu: University of Hawaii Press, 2006.
_____ and Julian Ward (eds.). The Chinese Cinema Book. London: BFI Publishing, and Basingstoke, Hampshire: Palgrave Macmillan, 2011.
_____ and Stephanie Dennison (eds.). Remapping World Cinema: Identity, Culture and Politics in Film. London and New York: Wallflower Press, 2006.
Recent and forthcoming publications
Song Hwee Lim. “Walking in the City, Slowly: Spectacular Temporal Practices in Tsai Ming-liang’s ‘Slow Walk, Long March’ Series”, Screen 58 (2): 180-196, 2017.
_____. “Can Poetics Break Bricks?”, in Gary Bettinson and James Udden (eds.), The Poetics of Chinese Cinema. Basingstoke, Hampshire: Palgrave Macmillan, 2016, pp. 147-165.
_____. “Domesticating Time: Gendered Temporalities in Hou Hsiao-hsien’s Café Lumière”, Frontiers of Literary Studies in China 10: 1 (2016), pp. 36-57.
_____. “Temporal Aesthetics of Drifting: Tsai Ming-liang and a Cinema of Slowness,” in Tiago de Luca and Nuno B. Jorge (eds.), Slow Cinema. Edinburgh: Edinburgh University Press, 2016, pp. 87-98.
_____. “The Voice of the Sinophone,” in Audrey Yue and Olivia Khoo (eds.), Sinophone Cinemas. Basingstoke, Hampshire: Palgrave Macmillan, 2014, pp. 62-76.