B.A. in Cinema (SFSU); M.A. in Humanities (SFSU);
Ph.D. in Comparative Literature (WashU)
Email: email@example.com | Tel: 3943-4153 | Office: KKB 217
PANG Laikwan 彭丽君 received her Ph.D. in Comparative Literature from Washington University in St. Louis, and has taught at CUHK since 2002. She has published widely in the general field of modern and contemporary Chinese cultures. Her research interests include film studies, visual studies, creativity, aesthetics, as well as cultural and political theories.
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 continued 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 at the turn of the twentieth century. She also began to be interested in copyright and creativity, results in two books: Cultural Control and Globalization in Asia (2006) and 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.
She has turned her attentions to socialist China in recent years, and 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. Her latest book, The Appearing Demos (2020), discusses the recent dissident movements in Hong Kong from both a global perspective and a cultural perspective.
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. Her book, Creativity and Its Discontents was selected in the KU list for global open access.
Pang, Laikwan. The Appearing Demos: Hong Kong During and After the Umbrella Movement. Ann Arbor: University of Michigan Press. 2020.
-----. The Art of Cloning: Creative Production during China's Cultural Revolution. London and New York: Verso, 2017. (中文翻译： 彭丽君， 《复制的艺术：文革期间的文化生产与实践》李祖乔译。香港: 中文大学出版社，2017。)
-----. Creativity and Its Discontents: China’s Creative Industries and Intellectual Property Rights Offenses. Durham and London: Duke University Press. 2012.
-----. The Distorting Mirror: Visual Modernity in China. Honolulu: University of Hawai‘i Press, 2007. (中文翻译：彭丽君，《哈哈镜：中国视觉现代性》张春田译。简体字版：上海：上海书店出版社，2013；繁体修订版：香港：手民出版社，2019)
-----. 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. Forthcoming. “Sexualizing the Cinematic Border.” In Handbook of Gender in East Asia, ed. Jieyu Liu and Junko Yamashita. London: Routledge.
-----. Forthcoming. With Ko Chun-kit. “Scripts as Method.” Prism: Theory and Modern Chinese Literature.
-----. 2019. “Dialectic Materialism.” In Afterlives of Chinese Communism, ed. Christian Sorace, Ivan Franceschini, and Nicholas Loubere, 67-71. Sydney: Australian National University Press; London: Verso.
-----. 2019. “The ‘Nature’ of Ethnic Tensions: Under the Flaming Mountains as Xinjiang’s First Novel.” In Chinese Shock of the Anthropocene: the Making of Image, Music and Text in the Age of Climate Change, ed. Kwai-Cheung Lo and Jessica Yeung, 179-201. New York: Palgrave Macmillan.
-----. 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.
-----. 2016. “Mao’s Dialectical Materialism: Possibilities for the Future,” Rethinking Marxism 28, no. 1: 108–123. (中文翻译：彭丽君，〈毛泽东的辩证唯物主义：未来的各种可能〉《现代哲学》罗嗣亮、周缝梅译 (2017年第3期) : 44–54。)