| 1. |
2023/12 |
"Seeking for Japaneseness in Taiwanese Cinema and vice versa. From the example of Cape No. 7 (Wei Te-sheng, 2008) and You Are the Apple of My Eye (Giddens Ko, 2011; Hasegawa Yasuo, 2018)" (Asia Pacific Conference 2023: Shaping a New World from Asia Pacific)
|
| 2. |
2023/01 |
Reform of Chinese language education for the implementation of the new curriculum and an attempt at a new collaborative method of "teaching-learning" (Ritsumeikan Asia Pacific University, CLE Review)
|
| 3. |
2023/01 |
“Challenges and Possibilities in Chinese Language Education: the Application of Cultural Studies in Chinese 4 Language Classroom” (Ritsumeikan Asia Pacific University, CLE Review)
|
| 4. |
2022/12 |
"Our Collective Memory Matters? Reading Pluralingualism and Nostalgic Pop Culture Influence on Taiwan from Our Times (Frankie Chen, 2015)" (The 20th Asia Pacific Conference at Ristumeikan Asia Pacific University)
|
| 5. |
2022/07 |
"Her Body, Her Story, but Our History: Revisiting Hiroshima Mon Amour (Alain Resnais, 1959)? The Formation of Trans-imageity in Good Men, Good Women (Hou Hsiao-hsien, 1995)" (Asian Studies Conference Japan (ASCJ, Japan))
|
| 6. |
2022/05 |
"The Reflection on the Utilization of Orientalism in Chinese Language Classroom in APU from a Case Study" (The Fourth APLJ Symposium)
|
| 7. |
2022/03 |
"To Seek for Little Happiness (小确幸：xiǎo què xìng) in Online Classes? The Challenges and Possibilities in Chinese Beginner Course" (Ritsumeikan Asia Pacific University, CLE Review)
|
| 8. |
2021/12 |
"The Engagement of Popular Memory in Taiwan: Reading Plurilingualism in Good Men, Good Women (Hou Hsiao-hsien, 1995) and Kano (Ma Chih-hsiang, 2014)" (The 19th Asia Pacific Conference at Ritsumeikan Asia Pacific University)
|
| 9. |
2021/05 |
"How to Utilize the Theory of Third Place (Kramsch 1993) in Chinese Language Classroom at APU" (The Third APLJ Symposium)
|
| 10. |
2020/12 |
"The Utilization of Short Films for the Online Chinese Language Classroom: Creating the Chinese Class as a Community of Practice" (The Second APLJ Symposium)
|
| 11. |
2020/11 |
"The Transnational Cultural and Historical Space in Taiwan: From Loveable You (Hou Hsiao-hsien, 1981) to The Assassin (Hou Hsiao-hsien, 2015) " (The 18th Asia Pacific Conference at Ritsumeikan Asia Pacific University)
|
| 12. |
2019/12 |
"Rethinking Healthy Realism Films in the 1960s from Hou Hsiao-hsien’s film, Electric Princess House (2007)" (The 17th Asia Pacific Conference at Ritsumeikan Asia Pacific University)
|
| 13. |
2019/11 |
"How to Utilize Cultural Studies Knowledge in Chinese Language Teaching at APU" (The 17th Asia Pacific Conference at Ritsumeikan Asia Pacific University)
|
| 14. |
2019/07 |
“Her Fidelity, Her Memory, Her Story, but Our History: Hiroshima Mon Amour (Alain Resnais, 1959) Revisited? The Formation of Trans-imageity in Good Man Good Women (Hou Hsiao-hsien, 1995)” (AAS-in-Asia 2019: Asia on the Rise? at Thammasat University)
|
| 15. |
2019/05 |
“Finding a Nexus between Film Studies and Chinese Language Teaching: Jie di qi (接地气：Down to earth) to Students at APU’s Introductory Chinese Class is the Key” (The First APLJ Symposium: Enriching Language Education through Collaboration at Ritsumeikan Asia Pacific University)
|
| 16. |
2018/12 |
“Space, Landscape, and Indirectness in The Puppetmaster (Hou Hsiao-hsien, 1993) and Three Times (Hou Hsiao-hsien, 2005)” (The 16th Asia Pacific Conference at Ritsumeikan Asia Pacific University)
|
| 17. |
2017/11 |
"A Special Greeting to Our Seventeen Years Old-A Reading of Public Memory, Gender and Modernization" (The 15th Asia Pacific Conference at Ritsumeikan Asia Pacific University)
|
| 18. |
2016/11 |
“Who is more ‘Ozu’? A Reading of Café Lumiere (Hou Hsiao-hsien, 2003) and Tokyo Family (Yamada Yoji, 2013)” (The 14th Asia Pacific Conference at Ritsumeikan Asia Pacific University)
|
| 19. |
2014/07 |
“How Does Hou Hsiao-hsien Engage Popular Memory? Nationalism, Language and Film Shots in Good Men, Good Women” (Asian Studies Association of Australia (ASAA) 2014 Conference at the University of Western Australia)
|
| 20. |
2013/11 |
“The Transitional Cultural and Historical Space in Taiwan: From the Sandwich Man (1983) to Nie Yin Niang (2015)” (2013 New Zealand Asian Studies Society (NZASIA) Biennial International Conference)
|
| 21. |
2012/09 |
“Micro-history vs. Macro-history in Hou Hsiao-hsien’s A City of Sadness (1989) and Good Men, Good Women (1995)” (2012 Annual Postgraduate Symposium in the School of the Arts and Media at the University of New South Wales, AUSTRALIA)
|
| 22. |
2012/06 |
“The Indirect Accusation of Taiwanese Government’s Intervention on Media and People’s Life in Hou Hsiao-hsien’s film, Electric Princess House (2007)” (2012 Annual Postgraduate Students Conference in the School of Humanities and Communication Arts at the University of Western Sydney)
|
| 23. |
2011/11 |
“Entangled Love and Hatred? Reading Post-colonialism through the Cinematic Texts of Beneath Clouds (Ivan Sen, AUSTRALIA, 2002) and Good Men, Good Women (Hou Hsiao-hsien, TAIWAN, 1995)” (2011 Annual Conference in Cultural Studies Association of Australasia (CSAA))
|
| 24. |
2010/01 |
“Don’t Judge a Book by Its Cover? Does Interior Space and Landscape Mean More Than It Appears in Hou Hsiao-hsien’s Cinematic Texts” (Annual Conference in the College of Arts, the University of Western Sydney)
|
| 25. |
2009/06 |
“Don’t Judge a Book by Its Cover? Does Interior Space Mean More Than It Appears in Hou Hsiao-hsien’s A Time for Love in Three Times (2005)?” (The 15th Annual North American Taiwan Studies Conference)
|
| 26. |
2008/01 |
“Can Women Really Enter History? Reading Gender Issues in Hou Hsiao-hsien’s A City of Sadness (1989)” (The 6th Annual Hawaii International Conference on Arts and Humanities)
|
| 27. |
2007/10 |
“The Terror of Memories in Hiroshima Mon Amour (Alain Resnais, France, 1959) and Good Men, Good Women (Hou Hsiao-hsien, Taiwan, 1995)” (Annual UNSW EMPA Postgraduate Symposium: Hauntings: Spectres, Spectrality and Spectatorship)
|
|
Display 5 items
|
|
Display all(27)
|
