Brian Hu
bhu2@sdsu.edu
Appointments
Associate Professor
Television, Film, and New Media
San Diego State University
Education
PhD
University of California, Los Angeles (2011)
Department of Film, Television, and Digital Media
Graduate Concentration in Asian American Studies
MA
University of California, Los Angeles (2006)
Department of Film, Television, and Digital Media
BA
University of California, Berkeley (2004)
Film Studies & Economics
Book
Worldly Desires: Cosmopolitanism and Cinema in Hong Kong and Taiwan (Edinburgh: Edinburgh University Press, 2018).
Edited collections
Co-edited with B. Ruby Rich, “Dossier: Asian American Film at Fifty” special section, Film Quarterly 73.3 (Spring 2020).
Co-edited with Vincent N. Pham, “In Focus: Asian American Film and Media” special section, Cinema Journal 56.3 (Spring 2017).
Journal articles and book chapters
“A24 and the Asian American Prestige Film,” Film Quarterly 77.2 (Winter 2023) 20-31.
“’To All Beautiful Losers’: Political Pessimism and the Hong Kong Sports Movie,” Senses of Cinema 95 (July 2020).
“Programming Taiwan Cinema: A View from the International Film Festival Circuit,” in Taiwan Cinema: International Reception and Social Change. A Case Study of Wei Te-sheng, edited by Kuei-fen Chiu, et al (London: Routledge, 2017) 69-79.
“The Coin of the Realm: Valuing the Asian American Feature-Length Film,” in Routledge Companion to Asian American Media, edited by Lori Lopez and Vincent N. Pham (London: Routledge, 2017) 63-73.
“R.I.P. Gangnam Style,” in Hallyu 2.0: The Korean Wave in the Age of Social Media, edited by Sangjoon Lee and Abé Mark Nornes (Ann Arbor: University of Michigan Press, 2015) 229-43.
“Defenders of the Palace: Chinese-Language Movie Theaters and the Fight Over Semi-Private Spaces,” in American and Chinese-Language Cinemas: Examining Cultural Flows, edited by Lisa Funnell and Man-Fung Yip (London: Routledge, 2015) 136-51.
“Love in the Club: Karaoke Realism in Chinese and Hong Kong Cinema,” in Sampling Across the Spectrum, edited by David Laderman and Laurel Westrup (Oxford: Oxford University Press, 2014) 131-42.
“Star Discourse and the Cosmopolitan Chinese: Linda Lin Dai takes on the world,” Journal of Chinese Cinemas 4.3 (November 2010) 183-209.
“Make a Copy, Pass it On: The Ring Two and the Ghost of Verbinski,” Horror Studies 1.2 (November 2010) 253-63.
“Korean TV Serials in the English-language Diaspora: Translating Difference Online and Making it Racial,” Velvet Light Trap 66 (Fall 2010) 36-49.
“‘Bruce Lee’ after Bruce Lee: A life in conjectures,” Journal of Chinese Cinemas 2.2 (June 2008) 123-135. [Reprinted in Chinese Film Stars, edited by Mary Farquhar and Yingjin Zhang (London: Routledge, 2010) 165-179.] [Translated into Chinese as “李小龙之后的 ‘李小龙’：猜臆中的生平”, in华语电影明星:表演、语境、类型, edited by Mary Farquhar and Yingjin Zhang (Beijing: Peking University Press, 2011) 201-16.] [Translated into Russian as “Брюсплотация: как киноиндустрия штамповала «клонов» Брюса Ли после его смерти, чтобы заработать на образе легенды,” Discourse (Nov. 27, 2020).]
“Formula 17: Mainstreams in the Margins,” in Chinese Films in Focus II, edited by Chris Berry (London: BFI Publishing, 2008) 121-27.
“The KTV Aesthetic: Popular Music Culture and Contemporary Hong Kong Cinema,” Screen 47.4 (Winter 2006) 407-424.
“DVD Deleted Scenes and the Recovery of the Invisible,” Continuum: Journal of Media & Cultural Studies 20.4 (December 2006) 499-508.
“Bollywood Dreaming: Kal Ho Naa Ho and the Diasporic Spectator,” Post Script 25.3 (Summer 2006) 93-104.
Reviews, short essays, and reports
“Family Style,” liner notes, Dim Sum: A Little Bit of Heart, Criterion Collection, 2023, Blu-ray/DVD.
“Getting Real: An Interview with Documentarian Grace Lee,” Film Quarterly 76.2 (Winter 2022) 61-68.
“Physical Media in the Age of Streaming: a View from the Film Studies Classroom,” Stream Magazine 1 (Summer 2022).
“Whitewashing the Movies: Asian Erasure and White Subjectivity in U.S. Film Culture, by David C. Oh (book review),” Film Quarterly 75.3 (Spring 2022) 96-97.
“When Asian American Indie Features Suddenly Mattered: The ‘Class of 1997,’ in retrospect,” in Rise: A Pop History of Asian America from the Nineties to Now, edited by Philip Wang, Phil Yu, and Jeff Yang (Boston: Houghton Mifflin Harcourt, 2022) 150-51.
“Citing Solidarity in Asian American Documentary,” Film Quarterly Quorum (August 24, 2021).
“They Were Asian American, But…,” My Sight is Lined with Visions: 1990s Asian American Film & Video (May-June 2020) (commissioned essay for film retrospective).
“Making Asian American Film and Video: History, Institutions, Movements, by Jun Okada (book review),” Film Quarterly 69.4 (Summer 2016) 131-32.
Entry on “Love Without End,” Directory of World Cinema: China 2, edited by Gary Bettinson (Bristol: Intellect, 2015) 182-83.
Entries on “Our Sister Hedy,” “In Our Time,” “All’s Well End’s Well,” and “You Shoot, I Shoot,” Directory of World Cinema: China, edited by Gary Bettinson (Bristol: Intellect, 2012).
“Pop Music and Wong Kar-wai,” Mediascape (Winter 2011) (video essay).
“Linda Lin Dai at Shaw Brothers,” Australian Centre for the Moving Image (28 Jan. 2011) (commissioned essay for film retrospective).
“HBO’s Cinematized Television” (with Erin Hill), Mediascape (Fall 2009) (video essay).
“Neither Personal Nor Political: Edward Yang by John Anderson (book review),” Film-Philosophy 10.1 (2006) 21-27.
“The World Before Our Eyes: The Taipei International Film Festival,” Senses of Cinema 39 (April-June 2006).
“Closed Borders and Open Secrets: Regional Lockout, the Film Industry, and Code-Free DVD Players,” Mediascape 1.2 (Spring 2006).
“Taking Film Studies to the Streets (And Back Again): On the Necessity of Criticism (review of Essential Cinema: On the Necessity of Film Canons, Jonathan Rosenbaum,” Mediascape 1.1 (Fall 2005).
“Formula 17: Testing a Formula for Mainstream Cinema in Taiwan,” Senses of Cinema 34 (January-March 2005).
“Together (movie review),” Film Quarterly 57.4 (June 2004) 42-47.
“To Each Their Own: Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia, edited by Jenny Kwok Wah Lau (book review),” Senses of Cinema 32 (July-September 2004).
“Goodbye City, Goodbye Cinema: Nostalgia in Tsai Ming-liang’s The Skywalk is Gone,” Senses of Cinema 29 (November-December 2003).
Brian Hu 