Prof See Kam TAN

Prof See Kam TAN
陳時鑫

Associate Professor


tsktan@umac.mo
(853) 8822 8993
E21-4063
EDIT

Consultation Hours
Wednesday 1400 to 1700 hours; Thursday 1500 to 1800 hours

Or by appointment via tsktan@umac.mo

Education

He obtained his MA/PhD in English from the University of Melbourne, Australia, specializing in film, communication and cultural studies.

Research Interests

His main research interests are in the interdisciplinary area of film, gender and postcolonial studies with a particular focus on Chinese-language cinemas and Sinophone cultural formations. He has published one monongraphy and co-edited three books on Hong Kong cinema within transnational contexts, variously exploring issues of histories, genders and identities. He has published essays in international journals such as Asian Cinema, Jumpcut: A Review of Contemporary Media, Screen, The South East Asian Journal of Social Science, TV and New Media and Social Semiotics. Some of his work has been reprinted; others translated in Chinese. According to Google Scholar, his H-index impact is 9.

Research and Other Grants (Approximately totalling MOP2.15 million), including:

  • 2015-18: UM Multi-year Research Grant: Sinophone cinema:  Hong Kong, Macau, Singapore (MOP460K)
  • 2014: RDAO Conference Organizing Grant (MOP 100K)
  • 2012-15: UM Multi-year Research Grant: Media Communication: Popular Media and Creative Industries in China (MOP400K)
  • 2011-2014: UM Postgraduate Studentship (PhD) (MOP 342K; over 3 years)
  • 2010-2013: UM Postgraduate Studentship (PhD) (MOP 342K; over 3 years)
  • 2010: UM Research Committee Grant: Revisiting and Reconstructing a Mass Culture: Revolutionary Model Opera Films (MOP 72,650)
  • 2009-2012: UM Postgraduate Studentship (PhD) (MOP 342K; over 3 years)
  • 2008-2009: UM Research Committee Grant: Cyber-dates, Personal Ads. & Chatrooms (MOP60K)
  • 2007: UM Research Committee Grant: US Sitcom and Audience in South China (MOP 40,400)

Invited Workshop/Talks/Roundtable

  • (2017). Film, Literature and Social Justice. (UM).
  • (2014). Chinese Film Festivals. Hong Kong University.
  • (2014). Shaw Brothers goes global. Distinguished Speakers Series (National Chiao Tung University, Taiwan).
  •  (2014). Tsui Hark’s Peking Opera Blues. Distinguished Speakers Series (National Chiao Tung University, Taiwan).
  • (2014). Chinese language melodrama: the “three-women” film. Distinguished Speakers Series (National Tsing Hua University, Taiwan).
  • (2012). Hong Kong cinema: post-war thrillers. Distinguished Speakers Series (United International College, Hong Kong Baptist University-Zhuhai Campus, PRC)
  • (2010). Space as performance: The case of Raise the red lantern and 12 storey. The performing space in Asian Film workshop: Interdisciplinary perspectives. Singapore: Asian Research Institute, National University of Singapore.
  • (2009). Creative idustries in Macau, Digital Hollywood, digital China symposium. PRC: University of Nottingham, Ningbo.
  • (2006). “I grew up in a colonial environment”: A study of Tsui Hark’s early films. The Asia’s Future Initiative Forum. Gwangju, Korea.
  • (1996). The burdens of mandom: Masculinities in John Woo’s Films, Masculinity/speed/violence: Deterritorialising Hong Kong action movies. Australia: Edith Cowan University, Perth.

 

 

 

 

Courses Regularly Taught

He has taught both undergraduate and postgraduate courses, offering a wide array of courses that runs the gamut of introduction to film studies, global cinema, theories of mass communication and digital video production.

He has successfully supervised MA/PhD thesis to completion in the general areas of film, media and popular culture studies as follows:

PhDs at UM:

Jiang Wei, “Perpetual Devils: Representation of the Japanese in Chinese War Films after 1949″Xu Xiaying” (2016)
Xu Xiaying, “Chinese Animation in Times of Reform and Convergence: The Case of 100,000 Jokes” (2016)

PhDs outside UM:

Xiao Cai, “The Crystal of Everyday Life: The Ethics of Witness in Hou Hsiao-Hsien’s Films” (Johannes Gutenberg-Universitȁt (GSU) Mainz, Germany, 2016; as external supervisor and examiner).

MAs at UM:

Xiao Lingyue, “Disney Mulan and Chinese Mulan” (2015)
Zhang Xiaoyi, “Wong Kar-wai’s The Grand Master (2014)
Zhang Guonan, “The Semiotics of Propaganda” (2014)
Yang Shanhong, “Female Chinese Film Directors” (2014)
Zhang Bing, “Avatar and Chinese Audiences” (2011)
Shen Chen, “Stephen Chow: King of Comedy” (2011)
António J.E.V. Soares, “Cultural Memes” (2007)
Xu Xiaying, “US Sitcom & Chinese Audiences” (2007)
Wong Heong Fei, “Burmese In Macau” (2007)

MAs outside UM:

Jaspar Singh, “Singapore Television: Phua Chu Kang” (2003)
Michael Lee, “Singapore Cinema: Eric Khoo” (2000)

UM Honours College:

Ho I Cheng, Elsa, “Can Women Have It All?” (2016)

 

Introduction

Tan See Kam has worked and researched at the University of Macau since 2002. Before joining the English Department as Associate Professor of Film Studies, he was affiliated to the Department of Communication (2002-2012). Between 1997-2002, he was an assistant professor at the Nanyang Technological University, Singapore. He was a lecturer at the Flinders University of South Australia (1995-1997) where he was the honours co-ordinator of its Screen Studies programme.

Professional Experience

He has organized numerous international conferences, the two most recent being:

  • the 12th ACSS Conference: The Poetics of Cinema. (Lancaster, UK: University of Lancaster, 10-12 July 2017).
  • The 11th ACSS Conference: Post-Asia Film, Media and Popular Culture (Macau SAR, China: 14-16 July 2014).
  • The 10th ACSS International Conference: Asian Cinema and Media, Hong Kong University (May 2012)

 

He has served as juror/ invited speaker at film festivals (local, regional and national), as well as organizing film festivals on campus, including:

  • 2010:   The 7th China Excellent Films Show Forum, UM.
  • 2009:   The 6th China Excellent Films Show Forum, UM.
  • 2007: The Inaugural Asian American Film Festival, UM.
  • 2005: The 12th European Film Festival, UM.
  • 2004:   The Beijing-Macao Teen Films (京澳青年电影交流会), in conjunction with Central Academy of Drama (中央戏剧学院), Beijing.
Professional Affiliations

He is Chair of the Asian Cinema Studies Society (ACSS): https://www.facebook.com/groups/1412032349032041/

He is Chief Editor of Asian Cinema, published by Intellect Press (UK): http://www.intellectbooks.co.uk/journals/view-Journal,id=219

Associate Fellow (International Partner), International Postgraduate Program (IPP) Faculty, Johannes Gutenberg-Universitȁt Mainz, Germany. (since 2015) http://www.performedia.uni-mainz.de/91_DEU_HTML.php

He has been a Visiting Fellow to the Creative Industries Faculty, Queensland University of Technology, Australia. (2012)

He is a member of the Editorial Board of East Asian Journal of Popular Culture, Intellect Press (UK): http://www.intellectbooks.co.uk/journals/view-Journal,id=238/view,page=3/

He is a book/journal manuscript reviewer for Brill, Hong Kong University Press, Indiana University Press, Oxford University Press and Palgrave Macmillan, including top-class scholarly journals such as Asian journal of communication, Chinese journal of communication, Asian studies review, Intervention: Journal of postcolonial studies and Screen.

He is an external reviewer for the Research Grants Council (RGC) of Hong Kong.

 

Awards & Honors
  • 2018: Fifteen Years Long Service Award, University of Macau
  • 2014: 《澳門人 .澳門事》:星光夢旅人— 陳時鑫 (第738集) (澳門廣播電視 )

To commemorate the station’s 30th anniversary, TDM (Teledifusāo de Macau) commissioned a special documentary series for its weeknightly current affairs programme, “Macao People, Macao Affairs”. This series looks at five long-time naturalized residents of Macao. The episode about me was called “Tan See Kam—The Journey Of A Stardust Dreamer” (Episode 738). http://www.tdm.com.mo/c_video/play_video.php?id=17848 The other four episodes were variously devoted to a Mexican Priest, a Portuguese restauranteur, an African engineer, and a Taiwanese artist.

  • 2012: Fifteen Years Long Service Award, University of Macau.
  • 2011:Best Coach Award for Student Participant Dang Hao, Public Speech Competition, Foreign Language Teaching and Research Press (FLTRP), Beijing.
  • 2006: 2nd Prize Winner of Best Faculty Paper, titled “I Grew Up In A Colonial Environment”: A Study of Tsui Hark’s Early Films,” The Asia’s Future Initiative Forum (Gwangju, Korea).
Selected Publications

Books

  •  (2018; co-edited; in process). The Palgrave Handbook of Asian Cinema. London: Palgrave MacMillian.
  • (2016; sole author). Tsui Hark’s Peking Opera Blues. Hong Kong: Hong Kong University Press. 229 pages. [Reviewed by Chelsea McCracken (University of Wisconsin–Madison) in The Velvet Light Trap No. 80 (Fall 2017): 98-99]
  • (2011; co-edited). Hong Kong screeenscapes: From the New Wave to the digital frontier, with Esther Cheung and Gina Marchetti. Hong Kong: Hong Kong University Press. 296 pages. [Reviewed by Stephen Teo (Nanyang Technological University) for China Review International, Vol 17, No. 4 (2010), 486; and also Brenda Chan (Nanyang Technological University) for Quarterly Review of Film and Video, Vol. 28, Issue 5 (2011), 245-246]
  • (2009; co-edited). Chinese connections: Critical perspectives on film, identity and diaspora, with Peter X Feng and Gina Marchetti. Philadelphia: Temple University Press. 311 pages. [Reviewed by Margaret Hillendbrand for China Quarterly, Vol. 200 (December 2009), 1109-1110]
  • (2007; co-edited). Hong Kong film, Hollywood and the new global cinema: No film is an island, with Gina Marchetti. New York/London: Routledge Curzon.

Book chapters

  • (2018; in process). The Roads to Global Hollywood: Shaw Brothers, Golden Harvest, and Wanda Pictures. In Park-Magnon, et al., ed., Palgrave Handbook of Asian Cinema. London: Palgrave.
  • (2013). Global Hollywood, Narrative Transparency, and Chinese Media Poachers: Narrating Cross-Cultural Negotiations of Friends in South China. In Michael Keane and Wanning Sun, eds., Chinese Media, Vol. IV (London: Routledge), ch. 73. [reprint]
  • (2011). Surfing with the surreal in Tsui Hark’s wave: Collage practice, hybrid texts and flexible citizenship. In Esther Cheung, Gina Marchetti and Tan See Kam, ed. Hong Kong Screenscapes (Hong Kong: Hong Kong University Press), pp. 33-50.
  • (2009). Singapore as a society of strangers: Eric Khoo’s Mee Pok Man, 12 Storeys and Be with Me. In Tan See Kam, Peter X Feng and Gina Marchetti. Chinese Connections: Film, Identity and Diaspora (Philadelphia: Temple University Press), pp. 205-19.
  •  (2008). The love eterne: Almost a (heterosexual) love story. In Chris Berry, ed. Chinese films in focus II (pp. 160-67). New York: Palgrave Macmillan; [originally published in C. Berry, ed. Chinese films in focus: 25 new takes (pp. 137-43). London: bfi Publishing, 2003].

Journal Articles

  • (2015). Shaw Brother’s Bangpian: Global Bondmania, Cosmopolitan Dreaming and Cultural Nationalism. Screen Vol. 56, No. 2: 195-213. (A&HCI, double blind-reviewed)
  • (2013). Melancholia and melancholizing in fengyue (erotic) movies: Intimate Confessions of a Chinese Courtesan and Lust for Love of a Chinese Courtesan. Screen Vol. 54, No. 1: 82-103. (A&HCI; double blind-reviewed).
  • (2011). Global Hollywood, Narrative Transparency, and Chinese Media Poachers: Narrating Cross-Cultural Negotiations of Friends in South China. Television and New Media, Vol. 12, No. 3: 207-228. (AC&HI; SSCI: double blind-reviewed).

Translated Work

  • (2007).〈新加坡电影业:发展、困境与挑战〉. Trans. Liu Hui. Film art《电影艺术》 (北京 Beijing), 第315/4期, 第111-115页。[CSSCI]
  • (2005).〈60年代凌波的黄梅调电影:分析其反儒家意志以及跨越性别性欲慨念〉. Trans. Liu Hui. Contemporary cinema《当代电影》(北京 Beijing), 第129/6期, 41-47页。[CSSCI; A Special Issue on 100 Years of Chinese Cinema].