Post-doctor of Film and Television Literature (Fudan University), scriptwriter, and professor (Job Title)
Director of Film Research Institute and doctoral supervisor of Tongji University
1. Research orientation:
Film theory and criticism, film and TV screenwriting, animation theory and criticism, film directing, photography
Doctoral student and visiting scholar enrollment orientation: 1. Film, TV and animation research and playwriting; 2. Research and creation of pictorial photography.
2. Main courses:
Undergraduate courses: Film Directing, Feature Film Creation, Script Analysis, and Research on Genre Films
Graduate courses: Research and Creation of Micro-Films and Research and Creation of Film Scripts
Public elective courses of the school: Pictorial Photography, Appreciation of Famous Movies, and Appreciation of Famous Animated Films
3. Academic and social post:
Vice chairman of the Faculty Photography Association of Tongji University.
Vice chairman of Shanghai Film, Television and Drama Research Association and director of the Micro-Film Committee.
Secretary general of the Playwriting Theory Committee of China Film Literature Society.
Managing director of the Film, TV Drama Association of Colleges and Universities in the Yangtze River Delta Region in China.
A researcher of Beijing Film and Television Art Research Base of Beijing Film Academy.
A member of Shanghai Writers’ Association.
A judge of China Karamay Scriptwriting Festival.
A consultant of China Radio & TV Media Alliance of World Cultural and Natural Heritage Cities.
Director of Shanghai Film Critics Society.
A member of Shanghai Film Association.
A member of China Film Critics Association.
An expert judge of the “Special Fund for Promoting the Development of Films in Shanghai” of the Publicity Department of CPC Shanghai Municipal Committee.
An expert included in the Expert Pool of China National Arts Fund.
He once worked as deputy director in the Culture Bureau of Yangpu District, Shanghai and served as assistant to the dean of the College of Arts and Media, Tongji University, secretary of the Faculty Party Branch of the College of Digital Arts, Shanghai University, and president of the College of Digital Arts Branch of Shanghai University Young Teachers Fellowship, etc.
4. Education Background:
1. He once studied and engaged in research and teaching at Guangxi Normal University (earned a master degree from 1999 to 2002), Soochow University (earned a doctoral degree from 2002 to 2005), Xiying College of Film, Television and Media of Xi'an Foreign Languages University (worked as a teacher from 2003 to 2005), Northwest University (engaged in research cooperation and scriptwriting from 2004 to 2005), and Fudan University (earned a postdoctoral degree from 2006 to 2008).
5. Work Experience:
2. He began to work in 1988. He was employed by Shanghai University in 2005 and was selected as a master supervisor in the same year.
3. He once worked as assistant to the dean of the Department of Film and Television Arts for two years, responsible for managing daily work, and then transferred to the Department of Animation, where he worked as assistant to the dean.
4. In 2007, he was given the title of associate professor; in 2008, he was selected as a deputy-director-general-level reserve cadre of Shanghai University by the college.
5. He once served as a member of the Party Committee of the College of Digital Arts of Shanghai University, secretary of the Faculty Party Branch, and president of the College of Digital Arts Branch of Shanghai University Young Teachers Fellowship;
6. In August 2010, he was transferred to Tongji University, where he served as the director of the Film Research Institute of Tongji University.
7. He was appointed as a member of Tongji University’s Academic Degree Evaluation Committee for the Subject of Design and Art in 2011.
8. In November 2012, he took a temporary post, i.e. deputy director of the Culture Bureau of Yangpu District, Shanghai.
9. In April 2013, he worked as the assistant to the dean of the College of Arts and Media, Tongji University.
10. He was selected as a doctoral supervisor in August 2016.
6. Representative research results and works: (including vertical projects and horizontal projects, specify the ranking): (Design)
Movie and television plays in which he acted as a screenwriter and screenplay adapter (3 have been released to the public and 4 are in progress)
1. 45 episodes of large-scale historical teleplay titled Expressway of First Empire (produced by China International Television Corporation; supervised by: Chen Jialin; Directed by: Xiao Feng; starring: Kou Shixun, Cong Shan, Yang Mi, Wu Jing’an, Bi Yanjun, Zhang Zijian, Li Dongxue, Cheng Haofeng, Ren Tianye, Ma Jingwu, Ma Qiang, Shen Tai, and Zhang Xuan, etc.)
2. The Film titled Lifetime Promise (produced by Beijing Baiya Cultural Communication Co., Ltd.; directed by: Zhao Yong; starring: Xu Honghao and Liu Xiaojie; the film was recommended as “a key film in the year” by the National Radio and Television Administration and named “a key film in the year in the 7th Five-One Program” in Jiangsu Province)
3. The Film titled The Pioneer (co-produced by Shanghai Film (Group) Co., Ltd., Film and Television Center of the Cultural Troupe of All-China Federation of Trade Unions, and Shanghai Xunmeng Film Co., Ltd.; directed by Huang Deji and Nie Chunshen; starring: Zhang Yaxi and Yu Bo. The film was selected by the National Radio and Television Administration as one of the 15th key tribute films for celebrating the 90th anniversary of the founding of the Communist Party of China in 2011. It won the Outstanding Single Literary and Artistic Creation Achievement Award in Shanghai in 2012.)
In-progress movie and television plays in which he works as a screenwriter:
The films titled Guard the Soul, Hurry! Hurry! Miss Man, and Pear Fairy in Love
52 episodes of animated teleplay titled Terra-Cotta Warriors (CCTV, Crystal Media Technology Company, Terra-Cotta Warriors Management Department)
40 episodes of animated teleplay tilted Jingwei
30 episodes of teleplay titled Dr. Shoe
Micro-films directed by him:
1. The Appointment of Roses (20 minutes).
2. Unfortunate Encounter with Miss Man (30 minutes).
3. Seven Days’ Itch (7 minutes).
4. Chasing the Dream (10 minutes).
5. Guided by Books (15 minutes), a promotional video of Fanchang, Anhui. In the 2015 “Cultural China” micro-video collection activity in the National Cultural Information Resource Sharing Project held by the National Public Culture Development Center of the Ministry of Culture, it won the award for excellent works.
6. The biographical film titled Animation Masters Wang Shuchen, Ada and Zhan Tong (30 minutes)
7. The biographical film titled Fu Runsheng’s Artistic Life (30 minutes)
Completed city image publicity video projects in which he acted as a creator in chief:
1. Charming Hongze - a publicity video for Hongze County in Jiangsu Province, which was created in cooperation with Hongze County Government in Jiangsu Province;
2. Home of Lotus in the Dream and a Hakka Wonderland - a publicity video for Shicheng County in Jiangxi Province, which was created in cooperation with Shicheng County Government in Jiangxi Province;
3. Smart Honggutan – a publicity video for smart Honggutan District, Nanchang, which was created in cooperation with Nanchang Honggutan Management Committee.
Research projects led by him:
1. The subproject titled Research on the Reconstruction of Art Noumenon of Chinese Animation Schools in the Context of All-Media under National Social Science Fund of China’s major project titled Research on the Reconstruction of Chinese Animation Schools in the New Era and the Communication of National Culture in 2019 (Approval number: 19ZDA333).
2. The national art science planning project titled Research on Studio Ghibli’s Animation Works and Their Acceptance in China (a cultural, artistic and scientific research project of the Ministry of Culture) in 2015; project approval number: 15DC25. Number: YGJZ [2018] 202.
3. The Ministry of Education’s humanities and social science project titled Research on Hollywood Animated Films in 2008; approval number: 08JC760018; project completion certificate No.: 2012JXZ1380
4. The research project titled Research on Animation Master Miyazaki Hayao, which was funded by the 41st research fund for Chinese post-doctors, in 2007; number: 20070410670
5. The project titled A Comparative Study of Chinese, Japanese and American Animated Films under the Fundamental Research Funds for the Central Universities (Action Plan for Training Young Talents) in 2014 (No. :20141877; June 2014-June 2016).
6. Shanghai Municipal Education Commission’s project titled Research on DV Digital Film Production Technology and Marketization - Taking the New Generation of Chinese Films as an Example in 2006; approval number: A.10-0127-06-801
7. Shanghai University Science and Technology Development Fund’s project entitled A Comparative Study of the Scriptwriting Art of Chinese, Japanese and American Animations in 2005.
8. Tongji University’s teaching reform research and construction project entitled Research on the Construction of the Practical Teaching System for the Program of Art and Media in 2013 (started in June 2013 and ended in December 2014).
9. Shanghai Literary and Art Talent Foundation’s project titled The Indissoluble Tie of Three Key Players of Shanghai Animation Film Studio with Cartoon and Puppet Films in 2014 (June 1, 2014-June 30, 2015).
10. Tongji University’s graduate education reform and innovation project titled Chinese Films and Chinese Culture in 2014; number: 2014JCJS008.
11. The project titled Research on Chinese Micro-Films in 2015, which was funded by the scientific research funds of Tongji University’s specific funds for the “Project 985”.
12. Tongji University Center for the Study of Theory of Socialism with Chinese Characteristics’ project titled the Spreading and Dissemination of Chinese Films and Excellent Traditional Chinese Culture in 2017
13. Tongji University’s 13th experimental teaching reform project titled Innovation and Practice of the Teaching Mode of Pictorial Photography Based on the Constructivism Theory in 2018; project code: 0600104077
Three research projects in which he served as a main participant:
1. The project titled Research on the Culture and Industrialization of Films in Western China under the National Art and Science Plan for the “10th Five-Year Plan” Period in 2001; approval No.: 01BC22; project completion notice No.: YGJZ [2006] 033.
2. The project titled Research on the Sustainable Development of the Film Industry in Western China under the National Art and Science Plan for the “10th Five-Year Plan” Period in 2005; approval No.: 05IC162.
3. The Ministry of Education’s humanity and social science project titled Research on the Relationship between the Films in Western China and Western Literature in 2006; approval number: 06JA760018; project completion certificate number: 2011JXZ1195.
7. Representative works, textbooks, papers
17 books (7 monographs and 10 books in which he served as an editor-in-chief)
7 monographs:
1. Rebelling, Confusion and Return: A Comparative Study of the New Generation of Chinese Films (funded by the 20th Shanghai Social Science Academic Publishing Fund in 2007, published by Shanghai Century Publishing Group in July 2009). ISBN: 978-7-5458-0085-2
2. From Comparative Literature to Comparative Film and Animation Research (published by Chinese International Press in March 2009). ISBN: 978-0-644-31413-8
3. Animation Master Miyazaki Hayao (won the second-class grant of China Postdoctoral Science Foundation; No. 20070410670, published by Fudan University Press in February 2010; reprinted many times). ISBN: 978-7-309-06817-7/J.132
4. Introduction to Hollywood Animated Films (funded by the High-level Humanity and Social Science Works Publishing Program of Tongji University, published by Fudan University Press in October 2012). ISBN: 978-7-309-09163-2/J.192
5. Anime Master Osamu Tezuka (published by Shanghai People’s Fine Arts Publishing House in September 2013; copyright sold to Taiwan and Hong Kong publishing houses). ISBN: 978-7-5322-8388-0
6. Introduction to Micro-Film Art, published by China Film Press in April 2015. ISBN: 978-7-106-04109
7. Animation Masters Wang Shuchen, Ada and Zhan Tong, published by Tongji University Press in May 2017. (Written by Yang Xiaolin, Peng Jun, and Fu Panchan) a project of Shanghai Literary and Art Talent Foundation, funded by the High-level Works Publishing Foundation of Tongji University.
10 books in which he served as an editor-in-chief:
1. Understanding of World Cinema Animation Masterpieces (published by Shanghai University Press in August 2007). ISBN: 978-7-81118-185-2
2. Analysis of Famous World Animation Films (published by Communication University of China Press in August 2009). ISBN: 978-7-81127-699-2
3. Film and Television Appreciation (published by Shanghai Educational Publishing House in August 2009). ISBN: 978-7-5444-2406-6
4. Analysis of Oscar Best Animated Feature (published by Communication University of China in March 2010). ISBN: 978-7-81127-834-7
5. Analysis of Famous World TV Animations (published by Communication University of China Press in July 2010). ISBN: 978-7-81127-953-5
6. Understanding of Contemporary Popular TV Plays (published by Chongqing University Press in May 2011). ISBN: 978-7-5624-6021-3
7. Understanding of Movies·A Taste of Oscar Best Films in the Century (1929-1959), published by Chongqing University Press in March 2012. ISBN: 978-7-5624-6534-8
8. Understanding of Movies·A Taste of Oscar Best Films in the Century (1960-1990), published by Chongqing University Press in March 2012. ISBN: 978-7-5624-6533-1
9. Understanding of Movies·A Taste of Oscar Best Films in the Century (1991-2011), published by Chongqing University Press in March 2012. ISBN: 978-7-5624-6535-5
10. Film and Television Appreciation (revision) (published by Shanghai Educational Publishing House in December 2016).
He also participated in writing 4 works:
1. Post-Theory: Reconstructing Film Studies (editor-in-chief: David Bordwell, published by China Social Sciences Press in October 2000). ISBN: 7-5004-2859-6
2. Different Landscape: Studies of Hong Kong and Taiwan Films (editor-in-chief: Zhou Bin; published by Orient Publishing Center in August 2009). ISBN: 978-7-5624-0038-1
3. Understanding of Chinese Film Masterpieces (published by Chongqing University Press in September 2011) (editors-in-chief: Zhang Ali and Cao Xiaojing; co-authors: Zhang Ali, Cao Xiaojing, Xue Ling, Gao Zimin, Yang Xiaolin and Guo Yue). ISBN: 978-7-5624-6121-0
4. The Course of Film and Television Appreciation (Chapter 10: Animation, 25,000 words) (editor-in-chief: Li Yizhong; published by Higher Education Press in February 2013). ISBN: 978-7-04-036501-6
Screenplays and creation understandings published
1. My Eight Film and TV Screenplays. Chinese Writers, Issue 2 in 2017. 6,000 words.
2. Hurry! Hurry! Miss Man. Chinese Writers, Issue 3 in 2017. 40,000 words.
3. Pear Fairy in Love, published in The Review, Reflection and Prospect of Chinese Countryside Film and Television Literature Creation, published by China Film Publishing House in November 2017. ISBN: 9787106047955. 40,000 words.
4. The Character of a Good Script is “This One”. Literature and Art Newspaper, December 5, 2018.
5. Hongze Lake. Chinese Writer, Issue 2 in 2019. 40,000 words.
Papers:
Literary research works
1. “Beautiful Japan” and “Ambiguous Japan” - Comparison of Kawabata Yasunari and Kenzaburo Oe’s Works. Journal of PLA University of Foreign Languages, Issue 2 in 2002.
2. Utopia, World of Universal Harmony, and Moderately Prosperous Society -- On the Political Ideals of Plato and Confucius. Journal of Guangxi University for Nationalities, Social Science Album in 2001.
3. Self is not the Master of Own Home- Rethinking the Quilt Based on the Tripartite Personality Structure Theory. Language and Culture Education Research, Issue 3 in 2001.
4. Opinions on Myth-Archetypal Criticism. Journal of Qinzhou Teachers College, Issue 4 in 2001.
5. Questioning and Deconstructing Eurocentrism - On the Strategies of Post-Colonial Theory in Literary Practice. Reading and Writing, Issue 11 in 2001.
6. Questioning, Deconstructing, Can It Be Overturned? - On the Paradoxes, Misunderstanding, Misuse and Abuse of Post-Colonial Theory. Journal of Yili Teachers College, Issue 1 in 2002.
7. Is Liang Shiqiu really “a Representative of Bourgeois Literature”? - A Re-understanding of Classicism and New Humanism. Journal of Soochow University, The Special Issue for Graduate Students in 2002.
8. Intertextuality of Collective Unconsciousness and Text Interpretation. Journal of Guangxi Normal University, The Special Issue for Graduate Students in 2002.
9. On the Historical Source of Liang Shiqiu’s Dualistic Theory of Human Nature of Controlling Desires by Wits. Journal of Zhuhai Institute of Education, Issue 1 in 2004.
10. The Origin of Positivism and Comparative Literature Iconography - The Historical Achievements of Jean Marie Carré and Marius-François Guyard. Journal of Xinzhou Teachers University, Issue 3 in 2003.
11. On the Weird “Ma Bole” in Xiao Hong Style Novels. Journal of Qiqihar University, Issue 4 in 2003.
12. On the Unique Deconstruction of Realism Grand Narrative by New Realistic Novels. Journal of Baoji University of Arts and Sciences, Issue 5 in 2004.
13. A Probe into the Means of Artistic Expression in Xu Zhimo’s Goodbye -- A Gift to a Japanese Girl. Masterpieces Review, Issue 5 in 2005.
14. The Mirror Image of the Lilac-like Girl is “Me” – A New Understanding of Dai Wangshu’s A Lane in the Rain. Masterpieces Review, Issue 4 in 2006.
15. This Life Here: A Touching Book on the Countryside. Baoji Daily, May 11, 2017.
Film and television research works
1. The Embarrassment of Literature and the Future of Novels. Novel Review, Issue 5 in 2004.
2. The Glory and Embarrassment When Forms Overpower Contents – on the Hero. Reading and Writing, Issue 7 in 2003.
3. On the Comparison of the Hero, Warriors of Heaven and Earth, and Samurai. Film Review, Issue 12 in 2003.
4. Put Some Salt on the Unhealed National Wound - Analysis of the Image of Japanese Soldiers in the Contemporary Film Industry. Journal of Nanning Teachers College, Issue 2 in 2002.
5. The Change of the Routine of the New Generation of Films - Another Description of the Social Alternative and Marginal People in the Movie My Father and I. Movie Literature, Issue 9 in 2004.
6. Mobile Phone: Feng Xiaogang’s Sincerity and Cruelty. Contemporary Literary Criticism, Issue 5 in 2004.
7. 2046: Fragmented Memory and Postmodern Expression of Emotion. New Films, Issue 1 in 2005.
8. From the Hero to the House of Flying Daggers: Valuing “Martial Arts” and Lightening “Chivalry” to Re-create a Splendor and Embarrassment. Movie Literature, Issue 3 in 2005.
9. On the Western Theme Films of the New Generation of Directors. Film Art, Issue 4 in 2005.
10. Riding Alone for Thousands of Miles: The Change of the Routine in Zhang Yimou’s Films. New Films, Issue 2 in 2006.
11. A Comparison between the Seven Swords and the Seven Samurai, published in Chongqing Review, Issue 2 in 2006.
12. Spiritual Redemption in the Age of Money Worship - On Lu Xuechang, one of the Sixth Generation of Directors, and His New Work Tenancy Term. New Films, Issue 5 in 2006.
13. Women in Charge of Male Discourse under the Feminist Posture - On the Female Image in the Perpetual Motion. Movie Literature, Issue 6 in 2006.
14. Curse of the Golden Flower: A Nice Return. Literature of the Times (Bimonthly Academic Edition), Issue 1 in 2007.
15. From Comparative Literature to Comparative Films - On the Construction of the Discipline of Comparative Films. Academic Forum, Issue 2 in 2007.
16. The Confusion and Rational Reflection of Modern Confucians - On Yang Dechang’s Films. Forum for Chinese Literature of the World, Issue 3 in 2007 (copied by Renmin University of China, reprinted in full by On Film and Art, Issue 10 in 2007).
17. On the Creation of Chinese Epic Films and Magical Films - Taking The Promise as an Example. Movie Review, Issue 6 in 2007.
18. Understanding of the Culture of DV Works. Movie Literature, Issue 14 in 2007 (Co-author: Xu Jian).
19. A Preliminary Study of Magical Films under the Banner of New Mythology. Movie Literature, Issue 15 in 2007 (Co-author: Chen Kun).
20. The Significance of the Film History of the Sixth Generation of Chinese Films. Journal of Zhejiang Vocational Academy of Art, Issue 2 in 2008 (copied by Renmin University of China, reprinted in full by On Film and Art, Issue 11 in 2008)
21. The Music of Chinese Zither in the Forest- on Professor Di Qi’an’s Music in Movies. Shanghai Music News, March 25, 2009 (co-author: Wang Tingjuan).
22. On the Full-length Shots and Active Sounds in Yang Dechang’s Films. Contemporary Literary Criticism, Issue 1 in 2009.
23. Return to the Mainstream and Game Carnival: The Transformation of the New Generation of Chinese Films. Criticism and Creation, Issue 5 in 2009.
24. From the Edge to the Mainstream: The Origin and Status Quo of New Year Films. Master, Issue 1 in 2010. (K) No. 202.
25. The Phenomenon and Reflection of Film Criticism “Singing the Same Song”. Shanghai Wave, February 2010 (co-written by serval authors). ISSN:1005-8842
26. On the Western Origin of the Documentary Aesthetic Style in the New Generation of Chinese Films. Journal of Yunnan Arts University, Issue 3 in 2010. ISSN:1671-5047 (copied by Renmin University of China, reprinted in full by On Film and Art, Issue 3 in 2011. ISSN:1009-7627).
27. On the Creation of Chinese Youth Inspirational TV Plays – Taking “Struggle” as an Example. Movie Literature, Issue 4 in 2010. ISSN 0495-5692
28. Analysis of the Theme and Playwriting of the Semi-Gods and Semi-Devils (1997 Edition). Movie Literature, Issue 9, 2010. ISSN 0495-5692
29. The Western Origin of Film Noir and its Influence on the New Generation of Chinese Films. The New Decade in the New Century: The Form, Pattern and Trend of Chinese Film and Television Culture – Proceedings of the 13th Annual Conference of Chinese Collegial Association for Visual Art and the 6th China Film and Television High-level Forum, published by China Film Press in November 2010. ISBN: 978-7-10. 6-03264-7/J. 909.2-53
30. On the Evolution of Chinese and Western Film Aesthetics and China’s “New Documentary Film and TV Views”. Proceedings of the Academic Forum on the 30th Anniversary of the Founding of CFCA, published by China Film Press in 2011. ISBN:978-7-106-03394-1
31. Reflection on the New Kitschy Strategy of in Chinese Blockbusters. New Films, Issue 2 in 2011. ISSN:1005-6777
32. The Joys and Sorrows of New Year Movies- Taking Let the Bullets Fly, If You Are the One 2, Zhao’s Orphan as an Example. People’s Tribune, February 2011 (1). ISSN: 1004-3381
33. The Narrative Mode and Awareness of Unexpected Development in Disaster Films. Master, Issue 5 in 2011. (K) No. 202.
34. A Man Singing Folk Songs across the Door: Poetic and Cruel Feminism. News Times, June 17, 2011.
35. On Market Demands and Evolution of Chinese and Western Film Aesthetics. Journal of Tongji University (Social Science Edition), Issue 6 in 2011. ISSN: 1009-3060
36. The Faith in 1920s: Urgent to Save the Country and the People. People’s Tribune, July 2011. ISSN: 1004-3381
37. Description of the May Thirtieth Movement in a Novel Narrative Way – A Review of the Film Pioneer. Wenhui Daily, July 8, 2011. CN31-0002
38. The Troubles of Critics and Laggard Film Criticism, published in People’s Tribune, in September 2011 (2). ISSN: 1004-3381 (abridged version). Reprinted in full by http://www.people.com.cn/, https://www.gmw.cn/, www.chinafilm.com, http://www.cssn.cn/, http://cpc.people.com.cn/, http://www.qstheory.cn/, https://cn.chinadaily.com.cn/, http://yzyyoga.com/, http://www.bjqx.org.cn/portal/sites/site-111/pages/index.html, http://www.xwwnews.com/, and https://news.tongji.edu.cn/.
39. From Deification to Humanization- On the Characterization in Main Themed Movies. Journal of Tongji University, October 15, 2011 (co-author: Ding Zhenzhen).
40. The Flowers of War: A Too Thematic Movie. Master, Issue 1 in 2012. (K) No. 202
41 Governing the Country and Fighting Corruption: On the Historical Play Titled Ming Dynasty 1566-Jiajing and Hairui
42. Seeking the Root of Regional Culture and Exploring a New Way of TV Research - On Professor Zhang Ali’s On the Regional Culture of Shaanxi-style TV Plays
43. On Ma Liwen’s Realistic Film Creation. Journal of Zhejiang Vocational Academy of Art, Issue 2 in 2012. CSSCI Source Journal. ISSN:1672-2795
44. Children of the Stars: A Sincere Work with Something to Say. New Films, Issue 2 in 2012. ISSN:1005-6777
45. On the Aesthetic Comparison of Characters in Themed Movies. Journal of Tongji University (Social Science Edition), Issue 3 in 2013, pages 69-75. ISSN: 1009-3060
46. On Chinese Revenge Films. Journal of Zhejiang Vocational Academy of Art, Issue 4 in 2013. ISSN:1672-2795
47. The Historical Evolution and Aesthetic Characteristics of Chinese Prose Films. Ethnic Art Studies, Issue 6 in 2013. ISSN: 1003-840X
48. Characteristics, Classification and Dissemination of Micro-Films. Ethnic Art Studies, Issue 2 in 2015. ISSN: 1003-840X
49. On the Comparison of Chinese and Western Disaster Films. Journal of Tongji University, Issue 3 in 2015, (Social Science Edition). ISSN: 1009-3060
50. One Step Away: A Complex Post-Modern Text. Film Studies, Issue 3 in 2015. ISBN: 978-7-106-04319-3
51. Wolf Totem: The Change of Cross-cultural Production. Forum of Arts, Issue 6 in 2015. ISSN: 1673-2545
52. The Lost Tomb: Genre Consciousness and Genre Transcendence of National Fantasy Films. China Film News, September 2016.
53. The Lost Tomb: Genre Consciousness and Genre Transcendence of National Fantasy Films. New Films, Issue 5 in 2016.
54. The Deduction and Breakthrough of Humanity in Shanghai Gangster Films. Shanghai Art Review, Issue 1 in 2017.
55. The Construction and Publicity of Hainan’s Image as a Film, Television and International Tourism Island. 2017.
56. A Debate on the Problems in Current Research on Micro-Films. Aesthetics in the Micro-Times in Which Wang Desheng and Song Shicong Serve as Editors in Chief, published by China Social Sciences Press in September 2017. Pages 299-313. ISBN 978-7-5203-0863-2
57. On the Narration of Current Themed Film and Television Works - Taking the Name of the People as an Example. Journal of Shantou University (Social Science Edition), Issue 8 in 2017. (Co-author: Liu Wenbo) copied by Renmin University of China, reprinted in full by On Film and Art, Issue 12 in 2007. Reprinted in full by http://www.cssn.cn on February 16, 2018. http://www.cssn.cn/ysx/201802/t20180206_3841366_4.shtml
58. Ming Dynasty 1566: Governing the Country by a Suspicious Emperor and Anti-Corruption by a Paranoid Minister. Shanghai Art Review, Issue 1 in 2018.
59. On the Narrative Paradigm of Suffering and Tragedy Consciousness in Western China Films. A Multidimensional Study of Orientalism, Issue 1 in 2018.
60. When the Mobile Phone is like a Bomb - Italian Film Perfect Stranger. Xinmin Evening News, July 8, 2018.
61. Reflections on the Patriotism of National Revenge Type in Themed Film and Television Works- Taking Wolf Warrior 2 as an Example. Journal of Shantou University, Issue 8 in 2018, pages 5-10.
62. The Story of Mu and Xue: A Model Popular Science Micro-film Created by Li Dezhu. Xinjiang Literature and Art, Issue 5 in 2018 (co-author: Liu Wenbo)
63. Ant-Man 2: The Wasp: Quantum Space and Superheroes. Xinmin Evening News, September 9, 2018. A18.
64. Multiple Personality Suspense Film Project Gutenberg: Wrap the Fragile Heart with Sheep’s Fierceness and Wolf’s Greed, Xinmin Evening News, October 14, 2018.
65. Aquaman: Gemini Complex and Popcorn Superhero Movies. Xinmin Evening News, December 30, 2018.
66. The “Soft” Dissemination of Science - On the Creation of Four Popular Science Micro-Films of Xinjiang Association for Science and Technology. Xinjiang Literature and Art, Issue 6 in 2018 (Co-author: Chen Manqing).
67. A Street Cat Named Bob: People Saving Themselves First and Then Being Saved by God. Xinmin Evening News, November 11, 2018.
68. Escape Room: The Moment We Must Escape. Xinmin Evening News, February 17, 2019.
69. Alita: Battle Angel: More Skill Show than Humanistic Connotation. Xinmin Evening News, March 3, 2019.
70. The Value of Micro-Film Scriptwriters and My View of New Academy Film Criticism. Xinjiang Literature and Art, Issue 3 in 2019.
71. Bohemian Rhapsody: The Alternative Life of Rock Star Uncle Buck Tooth. Xinmin Evening News, April 7, 2019.
72. Overview of the Workshop on the Adaptation of Jin Yong’s Novels for Film and Television Works and Creation of Martial Art Film and Television Works. New Films, Issue 2 in 2019 (Co-author: Zhou Yijia)
73. Like a Flowing River: A Textbook on the History of Reform and Opening Up. Pujiangzongheng Monthly, Issue 2 in 2019.
74. The Avengers 4: Post-Modern and Fantasy Narration. Xinmin Evening News, May 19, 2019.
75. A Debate on the Definition of Micro-Film. Ethnic Art Studies, Issue 3 in 2019. Copied by Renmin University of China, reprinted in full by On Film and Art, Issue 8 in 2019.
76. The Patriotism in the Spirit of Martial Art Cannot Disappear. The Journal of Literature and Art, June 19, 2019 (5,000 words; co-author: Chen Manqing).
77. The Change in the Narration of Network Films and the Way to Success. People’s Tribune, June 2019 (2).
78. On the Creation of Chinese Suspense Films Since the New Century. Shanghai Art Review, Issue 3 in 2019.
79. The Scapegoat: The History of the Nation Told by the Dead in an Accidental and Strange Way. Chinese and Foreign Military Film and Television, Issue 8 in 2019, pages 26-27.
80. The Team of Screenwriters Headed by Xia Yan is the Backbone of Chinese Films. The Journal of Literature and Art, October 9, 2019.
81. My People, My Country: If the Ruler is Happy to Conform to the Happiness of the People, the People will be Happy for the Ruler’s Happiness. Xinmin Evening News, October 13, 2019.
82. Super Equipment, Great Machinery: Recording China’s" Hard Power in 38 Cities in Three Years. http://www.people.com.cn/, October 25, 2019.
Animation research works
1. Inspiration to China’s Animation Industry from the Journey to the West. Film Art, Issue 2 in 2006. ISSN0257-0181
2. Reflections on the Development of Cinema Animation. New Vison Art, Issue 4, 2006.
3. On Miyazaki Hayao’s Ecological View and Humanistic Confusion. Film Review, Issue 9 in 2006.
4. Opinions on the Teaching Improvement of the Film and Television Animation Course. Fujian Higher Education Institution Research, Issue 1 in 2007.
5. Thru the Moebius Strip: Exploring the New Mode of Chinese Cinema Animation. China Animation, Issue 3 in 2007.
6. Research on the Training of Talents from the Digital Film and Television and Animation Majors in Higher Education Institutions. Film Review, 2007, Issue 20 in 2007 (co-author: Yang Enhui; copied by Renmin University of China, reprinted in full by On Film and Art, Issue 1 in 2008).
7. The Origin of Miyazaki Hayao and European Animation- On the Influence of The King and the Bird, the Watershed of French Animation, on Miyazaki Hayao. Movie Literature, Issue 19 in 2009.
8. The Magic Aster: An Extraordinary Work Comparable to Disney’s Classic Animation. Movie Literature, Issue 21 in 2009. ISSN 0495-5692
9. Japanese-style Variations on American Animation: Similarities and Differences Between Miyazaki Hayao and Hollywood Animation. Movie Literature, Issue 20 in 2009. ISSN 0495-5692, Issue 1 in 2010. (Copied by Renmin University of China, reprinted in full by On Film and Art, Issue 1 in 2010. ISSN:1009-7627).
10. Reflections on the Cultivation of Graduate Students Majoring in Digital Film and Television and Animation, Movie Literature. ISSN 0495-5692, Issue 1 in 2010.
11. Characteristics of Short Art Films and Reflections on the Two Slogans of “Chinese School”- Analysis of Oscar Best Short Animated Films·Preface. Movie Literature, Issue 3 in 2010. ISSN 0495-5692
12. Compare with Miyazaki Hayao: Avatar Is a Mediocre Three-dimensional Hollywood Variety Show. Master, Issue 4 in 2010. (K) No. 202.
13. Reflections on Hangzhou International Animation Festival. China TV • Animation, Issue 4 in 2010 (Co-author: Zhang Qian). ISSN:1002-4751
14. Ancient costume Series of Magic Wardrobe: Inspiration from Hollywood. China TV • Animation, Issue 6 in 2010 (Co-author: Wang Min). ISSN:1002-4751
15. Opinions on American Non-Mainstream Animation. China TV • Animation, Issue 5 in 2010. ISSN:1002-4751
16. The Shepherd Planting Trees: The Essence of Happy Life. China TV • Animation, Issue 6 in 2010. ISSN:1002-4751
17. Character Design and Play Analysis of CCTV Animation Titled the Three Kingdoms. China TV • Animation, Issue 7 in 2010 (co-author: Zhang Yanying). ISSN:1002-4751
18. The History of Sun Wukong’s Appearance Changes: Aesthetic Changes. China TV• Animation, Issue 9 in 2010 (Co-author: Zuo Yalan). ISSN:1002-4751
19. Ponyo on the Cliff: The Rebirth of Miyazaki Hayao’s Childishness. Movie Literature, Issue 13 in 2010. ISSN 0495-5692
20. The Stereotyped Negative Characters in Miyazaki Hayao’s Animation Characters. Movie Literature, Issue 20 in 2010. ISSN 0495-5692
21. The Cause and Expression of Miyazaki Hayao’s Anti-war Thought. Movie Literature, Issue 22 in 2010. ISSN 0495-5692
22. The Whole Process of Animation Film Production. Film Museum · Influence, Issue 28 in 2010. Journal of China Film Museum.
23. Animation Architecture: Keep the House Standing Forever with Love. China TV • Animation, Issue 2 in 2011 (Co-author: Li Wenjuan) ISSN:1002-4751
24. Reflections on Violence, Pornography and Addiction in Online Games. Journal of Shanghai Business School, Issue 4 in 2011 (Co-written with Zhang Qiong). ISSN1673-324X
25. The Disappear of Animated Films with a Revolutionary Theme. China TV • Animation, Issue 12 in 2011. ISSN:1002-4751
26. Learning from Japan, China Urgently Needs Warm-blooded Animations. Oriental Morning Post. Dec. 9, 2011. CN31-0009
27. Cribug and the Hot Blood of Chinese Anime Producers. China TV • Animation, Issue 10 in 2011. ISSN:1002-4751
28. On the Neurocomedy Model of Disney’s Animated Love Movies. Journal of Beijing Film Academy, Issue 1 in 2012. ISSN 1002-6142
29. On the Comical Features of Disney Animated Films. Contemporary Cinema, Issue 2 in 2012, ISSN:1002-4646
30. Animated Movies: Seeking Personalized and Personified Images. The Journal of Literature and Art, 4th edition on July 4, 2012. CN11-0093 (reprinted in full by http://www.chinawriter.com.cn, https://www.sohu.com/, http://www.qstheory.cn/, http://www.xinhuanet.com/, http://www.people.com.cn/, http://yzyyoga.com/, www.neme.net, http://www.cnaci.com.cn/, http://www.eastday.com/, https://www.chinanews.com/, http://www.cflac.org.cn/, https://www.cqnews.net/, and https://news.tongji.edu.cn/, etc.)
31. How to Create a Really Prosperous Summer Movie Season, China TV • Animation, Issue 9 in 2012. ISSN:1002-4751
32. A Comparative Study of Chinese, Japanese and American Animated Films - On the Value and Methods of Comparative Film Research. New Films, Issue 1 in 2013. ISSN:1005-6777 (Copied by Renmin University of China, reprinted in full by On Film and Art, Issue 4 in 2013) ISSN:1009-7627).
33. Experience, Dilemma and Future of Chinese Animated Films – A Dialogue with Qian Jianping, Director of Shanghai Animation Film Studio. New Films, Issue 4 in 2013. ISSN:1005-6777
34. A Review of Domestic Animated Films in 2012. Research Report on the Development of Chinese Films, TV Plays and Drama (volume 2012), published by Fudan University Press in May 2013. ISBN:978-7-30909-6101
35. Learning from Hollywood, Chinese Animated Films are in Urgent Need of a Revolution, Proceedings of the 14th Annual Conference of Chinese Collegial Association for Visual Art and the 7th China Film and Television High-level Forum, published by China Film Press in June 2013. ISBN: 978-7-10. 6-03669-0 / j. 1421
36. Miyazaki Hayao: Another Peak of World Animation Far Away from Disney. Film Museum · Influence, Issue 1 in 2014. Journal of China Film Museum.
37. An Overview of the Creation of Chinese Animated Films in 2013. New Films, Issue 1 in 2014. ISSN:1005-6777
38. High Simulation Animation Cribug: Transplantation of “Others” and the Absence of “Self”. Sichuan Drama, Issue 6 in 2014. ISSN1003-7500
39. On the Online Micro-Marketing in the Film and Television Animation Industry Chain, Culture and Arts in the Micro Era, published by China Social Sciences Press in 2015.
40. An Overview of Homemade Animated Films in 2014. New Films, Issue 1 in 2015. ISSN:1005-6777
41. Handmade Workshops in the Great Industrial Age: On the Operation and Management of Studio Ghibli. Contemporary Cinema, Issue 2 in 2015. ISSN:1002-4646
42. Like Fairytale and Prose: On the Aesthetic Characteristics of Isao Takahata’s Animated Films. Contemporary Cinema, Issue 2 in 2015. (Co-author: Gong Nian) ISSN:1002-4646
43. A Comparative Study of Chinese and Japanese Animation Film Industries. New Films, Issue 1 in 2016. (co-author: Peng Jun) ISSN:1005-6777
44. An Overview of the Creation of Domestic Animated Films in 2015. Ethnic Art Studies, Issue 2 in 2016. ISSN: 1003-840X
45. McDull · Rise of The Rice Cooker: When Tearful Smile Becomes Childish Sleep Talking. Wenhui Daily, September 28, 2016.
46. How to Tell Chinese Stories in Chinese Animated Films. Shanghai Art Review, Issue 5 in 2016. CN31-2119/J
47. An Overview of the Creation of Homemade Animated Films in 2016, Ethnic Art Studies, Issue 3 in 2017. ISSN: 1003-840X
48. Osamu Tezuka’s Sun Wukong Complex. Wenhui Daily, July 21, 2017.
49. The Development Trend and Aesthetic Characteristics of Japanese Animated Films Since the New Century. Ethnic Art Studies, Issue 5 in 2017.
50. Da Hu Fa: A Milestone in the Exploration of Adultification of Chinese Animated Films. Forum of Arts, Issue 2 in 2018, pages 52-53. (co-author: Fang Hongfeng).
51. Who Set up the Trap for Tang Monk and His Disciples to travel to the West? Jiefang Daily · Ideological Weekly, May 15, 2018.
52. An Overview of the Creation of Chinese Animation Film in 2017. Journal of Communication University of Zhejiang, Issue 5 in 2018 (co-author: Fang Jingfeng).
53. Coco: Family Members are More Important than Dreams. Forum of Arts, Issue 5 in 2018.
54. On the Setting of Suspense “Play Eye” in Miyazaki Hayao’s Animated Films. New Films, Issue 5 in 2018.
55. An Overview of the Creation of Homemade Animated Films in 2018. Contemporary Animation, Issue 2 in 2019 (Co-author: Zhou Yijia)
56. The Creation of Adult-oriented Chinese Animation under the Influence of Japanese and American Animation Rating System. Film Review, 2019.
57. The Reconstruction of Chinese-School Animation in the Omnimedia Context. People’s Forum, November 2019 (1).
58. A Narratological Analysis of Youth Animated Film Crystal Sky of Yesterday, New Films, Issue 5 in 2019 (Co-author: Zhou Yijia).
59. On the Evolution of Narrative Strategies of Animation in New China in the Past 70 Years. Ethnic Art Studies, Issue 6 in 2019 (Co-author: Zhang Yuyang).
60. The Big World: One Person’s “Writer’s Film”, New Films, Issue 6 in 2019 (Co-author: Chen Manqing).
8. Honors and Awards
1. He ranked among top ten (tied for the third place) in the Department of Liberal Arts of Shanghai University in 2005 and 2006 in terms of the number of papers published in core journals. He won the core paper publishing award of the Department of Liberal Arts for three years in a row.
2. He was selected as a candidate for the 2007-2008 Shanghai University’s “Persons Moving Shanghai University”; he was introduced on the university’s website under the title of “diligent, wise, fruitful, steadfast, dedicated staff”; he ranked fifth out of 48 candidates in terms of online votes.
3. On July 1, 2009, he was given the honorary title of “an outstanding CPC member of Shanghai University in 2008-2009”.
4. In June 2012, his monograph titled “Animation Master Miyazaki Hayao” won the first prize in the seventh “Academy Award” of Chinese Collegial Association for Visual Art.
5. The film Lifetime Promise in which he served as a screenplay adapter was recommended as “a key film in the year” by the National Radio and Television Administration and named “a key film in the year in the 7th Five-One Program” in Jiangsu Province.
6. The film Pioneer in which he served as a screenwriter was selected by the National Radio and Television Administration as one of the 15th key tribute films for celebrating the 90th anniversary of the founding of the Communist Party of China in 2011 and won the Outstanding Single Literary and Artistic Creation Achievement Award in Shanghai in 2012.
9. International exchanges and activities:
Academic lectures held by him in recent years:
In the winter semester of 2007, he held a lecture titled On Zhang Yimou’s Films at Shanghai University.
In August 2008, invited by the Organizing Committee of Shanghai Book Fair, he held a lecture titled Understanding and Appreciation of World Animation Films in the Book Fair Center.
In the summer semester of 2008, he held a Shanghai Oriental Forum lecture titled Animation Master Miyazaki Hayao at Shanghai University.
In the winter semester of 2008, he held a lecture titled How to Write a Good Art Thesis at Shanghai University.
In the winter semester of 2008, he held a lecture titled How to Write a Good Graduation Thesis at Shanghai University.
In the spring semester of 2009, he was invited to give a lecture titled Animation Appreciation and Youth Growth for the primary schools in Jiading District.
In the spring semester of 2009, he held a Shanghai Oriental Forum lecture titled Japanese-style Variations on American Animation: The Relationship between Miyazaki Hayao Animation and Hollywood Animation at Shanghai University.
In the winter semester of 2009, he and Dr. Nie Wei jointly held a lecture titled Construction of an Academic Research and Cross-faculty Cooperation Platform at Shanghai University.
In the winter semester of 2009, he held a lecture titled Ideas, Methods and Norms of Art Thesis Writing at Shanghai University.
In April 2010, he was invited to give a lecture titled Appreciation of Chinese and Foreign Animation Masterpieces at Shanghai Normal University.
In May 2010, he was invited to give a lecture titled Return to the Mainstream and Game Carnival: The Transformation of the New Generation of Chinese Films at Shanghai University.
In October 2010, he was invited to give a lecture titled The Game Between the East and West: The Origin of Miyazaki Hayao and European & American Animations at Shanghai Film and Television Literature Library.
In September 2011, he was invited to give a lecture titled Return to the Mainstream and Convert to Traditions: On the Transformation of the New Generation of Chinese Films at Jiangnan University.
In October 2011, he was invited to hold an academic lecture titled Two Decades of the New Generation of Chinese Films at Shanghai University of Electric Power.
In March 2012, he was invited to give a lecture titled Commercial Films and Art Films for Pudong Medical Trade Union’s Film and Television Salon at the Health Development Research Institute of Pudong New Area.
On April 3, 2013, he was invited to give an academic lecture titled Neurocomedy Model of Disney Romantic Films at Shanghai Normal University.
On April 10, 2013, he was invited to give an academic lecture titled Anime Master Osamu Tezuka at Shanghai Normal University.
In July 2013, he was invited to give an academic lecture titled Some Problems of Chinese Animated Films at Fudan University.
In October 2013, he was invited to give an academic lecture titled Japanese Animation Masters at Kongjiang Middle School in Yangpu District.
In November 2013, he was invited to give an academic lecture titled The Significance of Osamu Tezuka and Miyazaki Hayao to Japanese Animation at Shanghai of Film Art Academy.
In December 2014, he was invited to give an academic lecture titled Status Quo of Chinese Micro-film Creation and Research Hotspots and Problems at Jinggangshan University.
In December 2014, he was invited to give an academic lecture titled The Origin and Future of Chinese and Japanese Animations at the Maritime Boya Forum.
In April 2015, he was invited to give an academic lecture titled Anime Master Osamu Tezuka and Miyazaki Hayao at Shanghai International Studies University.
In August 2015, he was invited to give an academic lecture titled Some Problems in Micro-Film Creation at Xuhui District Central Hospital.
In July 2016, he was invited to hold an academic lecture titled Status Quo of the Development of Micro-Films in China and Popular Science Micro-film Creation in Karamay, Xinjiang.
In August 2016, he was invited to attend the founding conference of China Radio, Television and Media Alliance of World Cultural and Natural Heritage Cities in Dunhuang, Gansu Province, where he gave a keynote speech titled Chinese Films and the Publicity of World Cultural and Natural Heritage.
In August 2016, he was invited to give a lecture titled Micro-film Creation for the micro film training in the construction and transportation industries in Shanghai.
In April 2017, at the invitation of the Publicity Department of CPC Hainan Provincial Committee and the Federation of Social Sciences, he held a lecture titled The Construction and Publicity of Hainan’s Image as a Film, Television and International Tourism Island in Haikou City during the Hainan International Tourism Island Forum.
In April 2017, he was invited by Shanghai International Studies University to give a lecture titled Culture and Films on the Journey to the West.
In October 2017, at the invitation of Shanghai University, he gave a lecture titled New Academy Film Criticism.
In March 2018, at the invitation of Nanjing Forestry University, he gave a lecture titled Animation Master Miyazaki Hayao from the Perspective of Comparative Film Studies.
In April 2018, at the invitation of the Municipal Association, he held an Oriental Forum lecture titled Three Ways to Understanding the Culture of the Journey to the West at Qibao No. 2 Middle School in Minhang District, Shanghai
In March 2019, he was invited to give a lecture titled Chinese Film Creation from the Perspective of a Comparison between China and Foreign Countries at Shanghai Normal University.
In April 2019, he was invited to give a lecture titled Cultural Review of Miyazaki Hayao’s Animation at Tongji University.
In May 2019, he was invited to give a lecture titled Chinese Film and Taoist Culture at Chongqing University.
In July 2019, he was invited to give a lecture titled My Eight Film and Television Screenplays at Lanzhou University.
Academic conferences chaired by him:
In March 2010, he chaired the Seminar on Animation Film Animen hosted by Shanghai Film Critics Society at Shanghai Animation Public Technical Service Platform.
In April 2010, he chaired the Seminar on Cinema Animation Black Cat Sheriff hosted by Shanghai Film Group, Shanghai Animation Film Studio, Shanghai Film Archive and Shanghai Film Critics Society at Shanghai Film Archive (Shanghai Film Art Center).
In December 2010, he chaired the Seminar on Film Happiness in 2010 hosted by Shanghai Film Critics Society at Shanghai Animation Public Technical Service platform.
In March 2011, he planned and chaired the Screening of the Award-winning Film Father of the International A-Grade Film Festival and Shanghai Academic Seminar on Films at Tongji University.
On September 29, 2011, he chaired the Academic Seminar on Film the Revolution of 1911 co-hosted by the Film Research Institute of Tongji University, New Films Office, Shanghai Film Critics Society and Shanghai Film Archive at Shanghai Film Art Center.
In December 2013, he organized and chaired 2013 Chinese Film, Television and Drama Creation Seminar hosted by Shanghai Film, Television and Drama Research Association at Tongji University.
In October 2017, he organized and chaired the Academic Seminar on the Status Quo and Future of Anti-Corruption Film, Television and Drama Creation hosted by Shanghai Film, Television and Drama Research Association, co-hosted by Shanghai Film Review and New Film, and undertaken by the College of Arts and Media and Film Research Institute of Tongji University.
In December 2018, he organized and chaired the Seminar on Film and Television Adaptation of Jin Yong’s Novels and Martial Art Film Creation hosted by the Playwriting Committee of China Film Literature Society, co-hosted by Chinese Writers (film and television version), Ethnic Art Studies and New Films, and undertaken by the College of Arts and Media and Film Research Institute of Tongji University.
10. Contact information:
Email: 1063781979@qq.com
Website: http://i.mtime.com/yangxiaolin/
