授課師資 | 台灣文學與跨國文化研究所

林松輝

教授

國立臺灣大學中文系學士，英國劍橋大學東方學院碩士、博士。中學時代開始熟讀台灣現代文學作品，大學時代興趣轉向電影與文化研究。曾任教於英國和香港，研究興趣包括電影研究（台灣、跨國、世界）、文化研究、性／別研究、後殖民與離散研究等。中文著作包括兩本研究專書、兩本合編文集；最新出版品為《未來的光陰：給台灣新電影四十年的備忘錄》（台北市：害喜，2022；與孫松榮合編）》。

臺灣教育部玉山學者計畫之國際優秀人才（2023-2025），主持研究計畫「地緣政治與跨國電影──邁向新的電影地理學」，見計畫網頁：https://geocinema.tw/

Professor Song Hwee LIM received his MPhil and PhD from the University of Cambridge. He previously taught at the universities of Leeds and Exeter for over twelve years and at The Chinese University of Hong Kong for over eight years. His English-language publications include three single-authored monographs and two co-edited volumes, as well as many journal articles and book chapters. He is founding editor of the international peer-reviewed Journal of Chinese Cinemas.

Recipient of “Global Outstanding Talent” award (2023-2025) under Taiwan’s Ministry of Education’s Yushan Fellow Program. Principal Investigator of collaborative research Project, “Geopolitics and Transnational Cinemas: Towards a New Filmic Geography”. See project website: https://geocinema.tw/

學經歷 Education and Academic Appointments

經歷

國立中興大學台灣文學與跨國文化研究所教授
香港中文大學文化及宗教研究系教授
英國艾瑟特 (Exeter) 大學英文與電影系高級講師
英國里茲 (Leeds) 大學東亞系講師
訪問學人機構包括：英國劍橋大學克萊爾書院 (Clare Hall)、德國柏林自由大學、新加坡國立大學亞洲研究中心、台灣中央研究院文哲所、台灣交通大學文化研究國際中心等
《Journal of Chinese Cinemas》創刊主編；擔任國際學術期刊編委會成員，包括 Studies in World Cinema: A Critical Journal、Transnational Screens等

學歷

英國劍橋大學東方學院博士 (Ph.D., Oriental Studies, University of Cambridge, UK)
英國劍橋大學東方學院碩士 (M.Phil., Oriental Studies, University of Cambridge, UK)
國立臺灣大學中文系學士 (B.A., Chinese Literature, National Taiwan University, Taiwan)

榮譽獎項 Honors and Awards

台灣教育部玉山學者計劃行政支援費補助學者 (2023-2025)
英國艾瑟特 (Exeter) 大學榮譽教授 (2020-2023)
香港中文大學文學院優良教學獎 (2019-2020)
香港中文大學傑出研究獎 (2016-2017)
香港「大學教育資助委員會研資局」優配研究金 (2015-2017)
英國 The Leverhulme Trust 國際網路資金 (2012-2014)

研究領域 Areas of Specialization

電影研究（台灣、跨國、世界）Film and screen studies
文化研究 Cultural Studies
性／別研究 Gender and sexuality studies
後殖民與離散研究 Postcolonial and diaspora studies

教學課程 Courses Taught

亞洲電影
台灣與亞洲電影研究
世界文學
當代理論與文學批評
同志電影
台灣電影

近期著作 Publications

(A) 個人專書 Single-authored monographs

Taiwan Cinema as Soft Power: Authorship, Transnationality, Historiography. New York: Oxford University Press, 2022.
Tsai Ming-liang and a Cinema of Slowness. Honolulu: University of Hawaii Press, 2014.
- 中文版：《蔡明亮與緩慢電影》，臺北：臺大出版中心，2016. https://press.ntu.edu.tw/tw/publish/show.php?act=book&refer=ntup_book00879&search=蔡明亮與緩慢電影
Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawaii Press, 2006.
- 中文版：《膠卷同志：當代中華電影中之男同性戀再現》，香港：手民出版社，2021. https://typesetter.hk/2021/11/08/celluloidcomrades/

(B) 合編文集 Co-edited books

《未來的光陰：給台灣新電影四十年的備忘錄》（與孫松榮合編），台北市：害喜，2022. https://www.books.com.tw/products/0010927620
The Chinese Cinema Book (with Julian Ward). London: BFI Publishing and New York: Bloomsbury, second edition, 2020.
《平行文本：文化研究的思想交鋒》（與張翠瑜合編），香港：香港中文大學文化及宗教研究系文化研究中心，2018.
Remapping World Cinema: Identity, Culture and Politics in Film (with Stephanie Dennison). London and New York: Wallflower Press, 2006.

(2024)〈另一種「另一種電影」：論楊德昌《獨立時代》的文藝腔與電影性〉(Another Kind of “Another Kind of Cinema”: On Speech Affectation and the Cinematic in Edward Yang’s A Confucian Confusion)，《現代美術學報》(Journal of Taipei Fine Art Museum)，第47期，頁10-46。網路版：https://map.tfam.museum/content/JO0047_01
(2019) “Citizen-to-citizen Connectivity and Soft Power: The Appropriation of Subcultures in ‘Little Freshness’ Across the Taiwan Strait”, China Information 33 (3): 294-310. (SSCI) DOI: 10.1177/0920203X18806418.
(2019) “Concepts of Transnational Cinema Revisited.” Transnational Screens 10 (1): 1-12. DOI: 10.1080/25785273.2019.1602334.
- Reprinted in Armida De La Garza, Ruth Doughty and Deborah Shaw (eds.), Transnational Screens: Expanding the Borders of Transnational Cinema. Abingdon, Oxon: Routledge, 2020, pp. 7-18.
(2018) “Towards a Poor Cinema: Ubiquitous Trafficking and Poverty as Problematic in Midi Z’s Films”, Transnational Cinemas 9 (2): 131-146. DOI: 10.1080/20403526.2018.1454700
(2017) “Walking in the City, Slowly: Spectacular Temporal Practices in Tsai Ming-liang’s ‘Slow Walk, Long March’ Series”, Screen 58 (2): 180-196. (A&HCI) DOI: 10.1093/screen/hjx015
- 中文版：〈在城市裡「慢」走：「慢走長征系列」及奇觀式的時間實踐〉（蔡文晟譯），孫松榮、曾炫淳編，《蔡明亮的十三張臉：華語電影研究的當代面孔》，新竹市：國立交通大學出版社，2021，頁 344-374.
(2016) “Domesticating Time: Gendered Temporalities in Hou Hsiao-hsien’s Café Lumière”, Frontiers of Literary Studies in China 10 (1): 36-57. DOI: 10.3868/s010-005-016-0003-4
(2011) “Manufacturing Orgasm: Visuality, Aurality, and Female Sexual Pleasure in Tsai Ming-liang’s The Wayward Cloud”, Journal of Chinese Cinemas 5 (2): 141-155. DOI: 10.1386/jcc.5.2.141_1
(2010) (with Will Higbee) “Concepts of Transnational Cinema: Towards a Critical Transnationalism in Film Studies”, Transnational Cinemas 1 (1): 7-21. DOI: 10.1386/trac.1.1.7/1
- 中文版：〈跨國電影的概念：電影研究中的批判性跨國主義〉（楊佳凝、劉宇清譯），《中華文化與傳播研究》第九輯，2021，轉載於 https://mp.weixin.qq.com/s/hOIpL8pYnF139zRDdQ5q3w
(2007) “Positioning Auteur Theory in Chinese Cinemas Studies: Intratextuality, Intertextuality and Paratextuality in the Films of Tsai Ming-liang”, Journal of Chinese Cinemas 1(3): 223-245.
(2007) “Is the Trans- in Transnational the Trans- in Transgender?”, New Cinemas: Journal of Contemporary Film 5 (1): 39-52.
(2002) “Contesting Celluloid Closets: The Politics of Representing Male Homosexuality in Chinese Cinemas”, Tamkang Review 33 (2): 55-75.
(2002) “Celluloid Comrades: Male Homosexuality in Chinese Cinemas of the 1990s”, China Information 16 (1): 68-88.

(D) 論文合集篇章 Chapter in edited volumes

(2021) “Soft Power and Cinema: A Methodological Reflection and Some Chinese Inflections”, in Stephanie Dennison and Rachel Dwyer (eds.), Cinema and Soft Power: Configuring the National and Transnational in Geo-politics. Edinburgh: Edinburgh University Press, pp. 17-37.
(2016) “Can Poetics Break Bricks?”, in Gary Bettinson and James Udden (eds.), The Poetics of Chinese Cinema. Basingstoke, Hampshire: Palgrave Macmillan, pp. 147-165.
(2016) “Temporal Aesthetics of Drifting: Tsai Ming-liang and a Cinema of Slowness,” in Tiago de Luca and Nuno B. Jorge (eds.), Slow Cinema, Edinburgh: Edinburgh University Press, pp. 87-98.
(2014) “The Voice of the Sinophone,” in Audrey Yue and Olivia Khoo (eds.), Sinophone Cinemas, Basingstoke, Hampshire: Palgrave Macmillan, pp. 62-76.
(2013) “Taiwan New Cinema: Small Nation with Soft Power”, in Carlos Rojas and Eileen Cheng-yin Chow (eds.), The Oxford Handbook of Chinese Cinemas, New York: Oxford University Press, pp. 152-169.
(2012) “Speaking in Tongues: Ang Lee, Accented Cinema, Hollywood”, in Lúcia Nagib, Chris Perriam, and Rajinder Dudrah (eds.), Theorizing World Cinema, London: I.B. Tauris, pp. 129-144.
- Reprinted in Klaus Stierstorfer and Janet Wilson (eds.), The Routledge Diaspora Studies Reader, Abingdon, Oxon: Routledge, 2018, pp. 218-222.
(2011) “Six Chinese Cinemas in Search of a Historiography”, in Song Hwee Lim and Julian Ward (eds.), The Chinese Cinema Book, London: BFI Publishing, and Basingstoke, Hampshire: Palgrave Macmillan, pp. 35-43.
- Updated version in second edition. London: BFI Publishing and New York: Bloomsbury, 2020, pp. 42-51.
(2011) “Transnational Trajectories in Contemporary East Asian Cinemas”, in Vivian P. Y. Lee (ed.), East Asian Cinemas: Regional Flows and Global Transformations, Basingstoke, Hampshire: Palgrave Macmillan, pp. 15-32.
(2009) “Queer Theory Goes to Taiwan”, in Noreen Giffney and Michael O’Rourke (eds.), The Ashgate Research Companion to Queer Theory, Aldershot: Ashgate, pp. 257-275.
(2008) “15: The Singapore Failure Story, ‘Slanged Up’”, in Chris Berry (ed.), Chinese Films in Focus II, Basingstoke, Hampshire: Palgrave Macmillan, and London: BFI Publishing, pp. 9-16.
- 中文版：〈《15》：「向上裝俚扮俗」的新加坡失敗故事〉（陳佳琦譯），《電影欣賞學刊》8 (2)，2011，頁 62-69.
(2008) “How to be Queer in Taiwan: Translation, Appropriation and the Construction of a Queer Identity in Taiwan”, in Fran Martin, Peter A. Jackson, Mark McLelland, and Audrey Yue (eds.), AsiaPacifiQueer: Rethinking Genders and Sexualities, Urbana and Chicago: University of Illinois Press, pp. 235-250.
(2007) “Queering Chineseness: Searching for Roots and the Politics of Shame in (Post)Colonial Singapore”, in Edwin Jurriens and Jeroen de Kloet (eds.), Cosmopatriots: On Distant Belongings and Close Encounters, Amsterdam and New York: Rodopi, pp. 75-92.
(2006) (with Stephanie Dennison) “Introduction: Situating World Cinema as a Theoretical Problem”, in Stephanie Dennison and Song Hwee Lim (eds.), Remapping World Cinema: Identity, Culture and Politics in Film, London and New York: Wallflower Press, pp. 1-15.
(2006) 〈漂泊流離的同志漫遊者：論王家衛《春光乍洩》中的九七／回歸陰影〉，宋耕編，《全球化與「中國性」：當代文化的後殖民解讀》，香港：香港大學出版社，頁203-212.
(2006) 〈翻譯酷兒：九零年代以來台灣對酷兒話語的引介與實踐〉，熊賢關編，《性別與疆界》，新加坡：新加坡南洋理工大學與八方文化，頁73-94.

研究計畫 Research Projects

(A) 主導研究計畫 Research Projects as Principal Investigator:

(2023-2025) 「地緣政治與跨國電影──邁向新的電影地理學」（台灣教育部玉山學者計劃行政支援費補助學者研究計劃）
(2015-2017) “After Taiwan New Cinema: Authorship, Transnationality, Historiography” (Research Grants Council, University Grants Committee, Hong Kong)
(2012-2014) “Chinese Cinemas in the 21^st Century: Production, Consumption, Imagination” (International Network Grant, The Leverhulme Trust, UK)

(B) 國際合作計畫 International Collaboration:

(since 2021) Overseas Collaborator, Asian Cinema Research Lab, Lingnan University, Hong Kong
(2019-2024) International Advisory Board Member, Consolidator Grant for Project on “African Screen Worlds: Decolonising Film and Screen Studies” (funded by the European Research Council)
(2016-2018) Steering Committee Member, International Network Project on “Soft Power, Cinema and the BRICS” (funded by the Arts and Humanities Research Council, UK)