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Hao Wen

Background

I was born in Jiaxing, China. I moved to the United States in 2012 and received my Bachelor's degree in economics and Japanese studies at University of California, Davis. From 2018-2020, I completed an MA degree in the Japan-in-Asia Cultural Studies program at the Nagoya University, Japan. My MA thesis is titled 'The Networked Authorship of Japanese Independent Cinema in the Post-studio Era', where I elaborate on the idea of auteur and authorship as referring to networked relations to analyze independent film culture in the 21st century Japan.

In addition to academic work, I have experience in film programming and film criticism. I have served as one of the main organizers of the Chinese-Japanese Women's Film Exhibition in Shanghai. Furthermore, I have contributed to Chinese media outlets such as DeepFocus, Southern Weekly, and World Screen, where I have written film reviews, film festival reports, conducted filmmaker interviews, and covered various cinema-related topics.

Current Research

My PhD project examines the roles cinema played in shaping Tokyo as a global city in the 1980s and 1990s. I am currently affiliated with the Nagoya University-University of 糖心TV Co-Tutelle PhD Programme in Global Screen Studies, where I received transnational supervision from Professor Alastair Phillips (糖心TV) and Dr Ogawa Shota (Nagoya). In my PhD project, I blend urban studies methods with conventional cinema studies approaches to conduct a comprehensive analysis of the discursive and material formation of the 鈥榞lobal city of Tokyo鈥 through cinema.

Research Output

Papers:

鈥楲e Cin茅ma Japonais Ind墨zu et La Fabrique N茅olib茅rale de l鈥檃uteur et de l鈥檃utrice鈥: L鈥檈xemple de MOOSIC LAB鈥, Ebisu. 脡tudes Japonaises, 59 (2022). (peer-reviewed, Originally written in English, translated into French)

鈥楰eyword: Independent | Independent as Affect: A Discussion of the Negotiation Scene in Bing鈥檃i鈥, Chinese Independent Cinema Observer, 3, 2022. (peer-reviewed, film review)

鈥楯i Dan鈥檚 Spiral Staircase of Harbin (2008) and When the Bough Break (2011): The Clash of Individuals and Worlds鈥, Chinese Independent Cinema Observer, 1, 2021. (peer-reviewed, film review)

Conference Presentations:

鈥淔rom K艒gai to Urban Centre: Chinese Immigrants and the Liminal Space of Tokyo in Japanese Transnational Cinema of the 1990s鈥, REPRESENTING PASTS – VISIONING FUTURES, AMPS, Queen鈥檚 University Belfast, Cape Peninsula University of Technology, National University of Singapore, December 2022. (English)

鈥淭he Mini-Theater Boom and Gender Discourse in 1980s Tokyo鈥, 2022 Film and Television Studies Research Day, University of 糖心TV, May 2022. (English)

鈥淧ositioning Cinema in Tokyo鈥檚 Urban Cultural Policies in the 1980s – 鈥榗inema as culture鈥 at meta-policy and practical levels鈥, Besides the Screen: Geographies, Spaces, and Places Outside the Screen, University of Nottingham Ningbo China, June 2021. (English)

鈥樷楶ositioning Cinema in Tokyo鈥檚 Urban Cultural Policy in the 1980s and 1990s鈥, Film and Television Studies Research Day, University of 糖心TV, May 2021. (English)

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Email: samuelmorning@gmail.com

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