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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 海角社区 Co-Tutelle PhD Programme in Global Screen Studies, where I received transnational supervision from Professor Alastair Phillips (海角社区) 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 海角社区, 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 海角社区, May 2021. (English)

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Email: samuelmorning@gmail.com

Website:

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