Tina Mai Chen is associate professor and department head in History at the University of Manitoba, Canada. She has published broadly on cinema studies, socialist culture, gender and women’s emancipation in modern Chinese history. A central focus of her work has been the world historical dimensions of Chinese subjectivity in the socialist and post-socialist periods. Her current research explores the ways in which film exhibition practices at the village level enliven debates in the PRC about the desired relationship between the state, rural space, and development.
Paul Clark is professor of Chinese in the School of Asian Studies at the University of Auckland, New Zealand. His Chinese Cinema: Culture and Politics since 1949 (1987) helped pioneer the international, academic study of Chinese films. Since then, he has published Reinventing China: A Generation and Its Films (2005), which focuses on the Fifth Generation filmmakers, The Chinese Cultural Revolution: A History (2008), and Youth Culture in China: From Red Guards to Netizens (2012). His current book project, “Recreating Beijing,” examines changing leisure spaces in that city since 1949.
Christine Ho is a doctoral candidate in the Department of Art and Art History at Stanford University. She is completing a dissertation on modern ink painting in China, currently titled Drawing From Life: Mass Sketching and the Formation of Socialist Realist Guohua. In her larger research project, she will examine collective art production from the Maoist era as well as the Reform period.
Jason McGrath is associate professor of modern Chinese literature and film in the Department of Asian Languages and Literatures at the University of Minnesota - Twin Cities. He is the author of Postsocialist Modernity: Chinese Cinema, Literature, and Criticism in the Market Age (2008), and his current projects include a co-edited anthology of translated Chinese film theory and criticism and a book manuscript entitled “Inscribing the Real: Realism and Convention in Chinese Fiction Film from the Silent Era to the Digital Age.”
Juliane Noth is head of the research project, funded by the German Research Foundation (DFG), on “Landscape, Canon and Intermediality in Chinese Painting of the 1930s and 1940s” at the Institute of Art History, Freie Universität Berlin. She is the author ofLandschaft und Revolution. Die Malerei von Shi Lu [Landscape and Revolution: Paintings by Shi Lu] (2009).
Xiaobing Tang is Helmut F. Stern Professor in Modern Chinese Studies at the University of Michigan. His publications includeMultiple Impressions: Contemporary Chinese Woodblock Prints(2011), Origins of the Chinese Avant-Garde (2008), Chinese Modern: The Heroic and the Quotidian (2000), and Global Space and the Nationalist Discourse of Modernity (1996).
Ban Wang is William Haas Professor in Chinese Studies at Stanford University. He is the author, among other publications, ofIlluminations from the Past: Trauma, Memory, and History in Modern Cinema (2004), The Sublime Figure of History: Aesthetics and Politics in Twentieth-Century China (1997). He is also editor of Words and Their Stories: Essays on the Language of the Chinese Revolution(2010), and co-editor of China and New Left Visions (2012).
Emily Wilcox is assistant professor of modern Chinese studies in the Department of Asian Languages and Cultures at the University of Michigan. Her research focuses on modern Chinese dance and performance culture. Her essays and articles have appeared in Asian Theatre Journal, Journal of the Anthropological Study of Human Movement, The Routledge Encyclopedia of Modernism and other venues. She is currently writing a book on dance and the ongoing construction of a national culture in China since the twentieth century.
Eva S. Chou is professor in the Department of English at Baruch College, City University of New York. She has published on Lu Xun, including Memory, Violence, Queues: Lu Xun Interprets China (2012), and is now working on other Republican-era topics as well as a cultural biography of Lu Xun.
Clare Croft is assistant professor in the Department of Dance at the University of Michigan. Her writings on dance history, dance dramaturgy, and cultural policy have appeared in Theatre Journal, Theatre Topics, and Dance Research Journal. She is currently completing her book, Funding Footprints: Dance and American Diplomacy (forthcoming in 2015), and is editing a book and its accompanying performance website titled Meanings and Makings of Queer Dance.
Nicole Huang is professor of Chinese literature and visual culture at the University of Wisconsin - Madison. She is the author of Women, War, Domesticity: Shanghai Literature and Popular Culture of the 1940s (2005). She is currently completing a book manuscript on auditory culture and daily practice in 1970s China.
Paola Iovene is assistant professor of Modern Chinese Literature at the University of Chicago. Her research interests include contemporary Chinese literature and criticism as well as independent documentary film. Her book Tales of Futures Past: Anticipation and the Ends of Literature in Contemporary China is forthcoming from Stanford University Press.
Li Yang is professor of contemporary Chinese literature and culture in the Chinese Department at Peking University. His publications include The Path of Resisting Destiny: A Study of Socialist Realism, 1942-1976 (1993), Re-reading of Canonical Works in Chinese Literature from 1950 to 1970 (2003), and The Question of Modernity in Literary Historiography (2005).
Alexander Potts is Max Loehr Collegiate Professor in Art History at the University of Michigan. Among his many publications are Flesh and the Ideal. Winckelmann and the Origins of Art History (1994),The Sculptural Imagination: Figurative, Modernist, Minimalist (2000), and The Modern Sculpture Reader (2007; reissued 2012). His most recent book is Experiments in Modern Realism: World Making, Politics and the Everyday in Postwar European and American Art (2013).
Krista Van Fleit Hang is assistant professor of modern Chinese literature and culture in the Department of Languages, Literatures, and Cultures at the University of South Carolina. Her book, Literature the People Love: Reading Chinese Texts from the Early Maoist Period, 1949-1966, was published by Palgrave Macmillan in May 2013.
Lingzhen Wang is associate professor in modern and contemporary Chinese literature and culture at Brown University. She is the author of Personal Matters: Women’s Autobiographical Practice in Twentieth-Century China (2004), and editor of Chinese Women’s Cinema: Transnational Contexts (2011). Most recently she guest-edited a special issue of differences: A Journal of Feminist Cultural Studies, focusing on Other Genders, Other Sexualities: Chinese Differences(2013). She co-directsthe Nanjing-Brown Joint Program in Gender Studies and the Humanities.
Wang Zheng is associate professor of History and Women’s Studies at the University of Michigan, founder and co-director of the UM-Fudan Joint Institute for Gender Studies at Fudan University, Shanghai. She is the author of Women in the Chinese Enlightenment: Oral and Textual Histories (1999) and co-editor of Translating Feminisms in China (2007) and Some of Us: Chinese Women Growing Up in the Mao Era (2001). She is currently finishing a gender history of the People’s Republic of China.
Xueping Zhong is Professor of Chinese Literature and Culture in the Department of German, Russian, and Asian Languages and Literatures at Tufts University. She is the author of Mainstream Culture Refocused: Television Drama, Society, and the Production of Meaning in the Reform Era China (2010) and Masculinity Besieged? Issues of Modernity and Male Subjectivity in Chinese Literature of the Late Twentieth Century (2000). She has co-edited several volumes, including Some of Us: Chinese Women Growing Up in the Mao Era(2001). Currently, she is co-editing two volumes of English translations of writings by scholars based in China on issues related to socialist legacies.
