B.A. in Cinema (SFSU); M.A. in Humanities (SFSU);
Ph.D. in Comparative Literature (WashU)
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PANG Laikwan 彭麗君 received her Ph.D. in Comparative Literature from Washington University in St. Louis in 1997, and has taught at CUHK since 2002. She has published widely in the general field of modern and contemporary Chinese culture. Her research can be roughly separated into three areas: Chinese Film and Visual Studies, Cultural Studies of Copyrights, as well as Culture and Politics of Socialist China.
Her dissertation was turned into her first book, Building a New China in Cinema (2002), which is the first book-length study in any language of the Left-wing Chinese cinema in the 1930s. She then developed her research in two directions. On the one hand, she continues to investigate China’s cultural modernity, and Distorting Mirror (2007) is devoted to the multiple and complex ways in which Chinese people interacted with the new visual culture that emerged during the turbulent period between the 1880s and the 1930s. On the other hand, she began to be interested in movie piracy and copyright issues, discussed in Cultural Control and Globalization in Asia (2006), as well as the creative economy and Intellectual Property Rights offenses taking place in China, which results the book Creativity and Its Discontents (2012). The two books together demonstrate how the proliferation of piracy and counterfeiting in today’s China opens the door to a new understanding of the logic of late capitalism.
Her latest book manuscript, The Art of Cloning (2017), examines the contents and the logic of the propaganda culture of the Cultural Revolution, and it analyzes the relations between subject formation and social formation. The book demonstrates that this propaganda culture was given the mutually contradictory tasks of agitating revolution and providing order. She is now working on two research projects, about Hong Kong’s Umbrella Movement and the national form of the PRC formed in the late 1950s. She has received Research Excellence Award and Young Researcher Award from the Chinese University of Hong Kong, Chiang Ching-kuo Foundation Publication Award, as well as Discovery International Award from Australia Research Council.
Pang, Laikwan. The Art of Cloning: Creative Production during China's Cultural Revolution. London and New York: Verso, 2017. (中文翻譯： 彭麗君， 《複製的藝術：文革期間的文化生產與實踐》。香港: 中文大學出版社，2017。)
-----. Creativity and Its Discontents: China’s Creative Industries and Intellectual Property Rights Offenses. Durham and London: Duke University Press. 2012.
-----.《黃昏未晚：後九七香港電影》。香港： 中文大學出版社，2010。 (修訂版即將出版).
-----. The Distorting Mirror: Visual Modernity in China. Honolulu: University of Hawai‘i Press, 2007. (中文翻譯：彭麗君，《哈哈鏡：中國視覺現代性》。上海：上海書店出版社，2013。)
-----. Cultural Control and Globalization in Asia: Copyright, Piracy, and Cinema. London and New York: Routledge. 2006.
-----. Building a New China in Cinema: The Chinese Left-wing Cinema Movement, 1932-37. Lanham, Boulder, New York, London: Rowman and Littlefield. 2002.
Pang, Laikwan. 2017. “Retheorizing the Social: The Use of Social Media in Hong Kong’s Umbrella Movement.” Social Text 132, vol. 35, no. 3 (Sept): 71 – 94.
-----. 2016. “Tian Han’s Historical Dramas in the Great Leap Forward Period: History, State, and Authorship.” In Oxford Handbook of Chinese Literatures, edited by Carlos Rojas and Andrea Bachner, 245–262. New York: Oxford University Press.
-----. 2016. “Arendt in Hong Kong: Occupy, Participatory Art, and Place-Making,” Cultural Politics 12, no. 2 (July): 155–172.
-----. 2016. “Civil Disobedience and the Rule of Law: Hong Kong’s Umbrella Movement,” Verges: Studies in Global Asias 2, no. 1: 170–192. （中文精要版：彭麗君，〈公民抗命與法治共同體：香港的可能〉《文化研究》23期（2016年秋季）：209–229。）
-----. 2016. “Mao’s Dialectical Materialism: Possibilities for the Future,” Rethinking Marxism 28, no. 1: 108–123. (中文翻譯：彭麗君，〈毛澤東的辯證唯物主義：未來的各種可能〉《現代哲學》羅嗣亮、周縫梅譯 (2017年第3期) : 44–54。)