作者: hssadmin

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Crowdsourcing Platforms and Survey Experiments

We have a Research Seminar Course lecture with an invited speaker on Friday 26.
For those of you not in the seminar course but interested in joining, please follow the information below:
Speaker: Dr. Yi-Hao Su (https://politics.ntu.edu.tw/english/?p=12482)
Time & Place: April 26 (Fri) 15:30-17:20, ZhiXing Building Room 321, Yang Ming campus in Taipei City, National Yang Ming Chiao Tung University
Online option: https://meet.google.com/gsj-ydeg-jft
Format: In English
Title: Crowdsourcing Platforms and Survey Experiments
Abstract:
Web-based surveys using crowdsourcing platforms are burgeoning in the study of public opinions. This talk explores: (1) How do researchers prepare research design and collect data on these crowdsourcing platforms? (2) What are the advantages and shortcomings of conducting survey experiments with crowdsourcing tools?
This topic may be of interest to researchers studying mind and cognition, as survey experiments could also be utilized to obtain information on people’s attitudes and collective memory.
For more seminar information: https://forms.gle/bggagJWPLUT2K7W89

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Lung Kong’s The Call Girls: Clashes with the censors amid a decade of “fists and pillows”

Title: Lung Kong’s The Call Girls: Clashes with the Hong Kong censors amid a
decade of “fists and pillows”

Date: 22 April 2024 (Monday)
Time: 1000-1200
Venue: Room 322, Zhi Xing Building Yang Ming Campus, NYCU
Online: http://meet.google.com/oim-hypr-kbv

Speaker: Dr. Tom Cunliffe (Lecturer in Film Studies, University College London)
Moderator: Dr. Klavier Wong (Assistant Professor, Institute of Visual Studies,
National Yang Ming Chiao Tung University)

Abstract
In December 1972, newspapers in Hong Kong reported that The Board of Film
Censors had banned Lung Kong’s latest film The Call Girls (1973). Lung’s film is
often grouped together as part of a wave of Hong Kong soft-core sex/erotic films in
the early-mid 1970s, but it also questions the illegalization and stigmatisation of sex
work. To demonstrate how Lung’s film and authorship clashed with the censors in
relation to how contemporary Hong Kong society was depicted, this talk will situate
Lung’s film within the industrial and historical context it emerged in. Within the
commercial norms that favoured sex and violence in imported and local films in the
early 1970s, the sex and violence in The Call Girls is not explicit or extreme, and far
less so than many of the locally produced Hong Kong or foreign films released in
Hong Kong around this time. It is more the way the film depicts contemporary Hong
Kong that the censors found problematic. The complex reasons for why it was banned
relates to how the censors wanted specific images of Hong Kong on-screen that did
not match up to the lived reality; the censors charged Lung’s film with smearing the
image of Hong Kong and painting a great part of it as “a sink of iniquity”. It was the
Board of Appeal that took a different approach since they argued that it was because
the film attempted social comment that it should be released. This talk will explore
the censors’ reasons for initially banning the film and also at how the ban being
overturned after appeal and the release of The Call Girls after only several cuts was

one of several key precedents that marked a shift in how cinema could represent Hong
Kong society in the 1970s.

Bio
Tom Cunliffe is a lecturer in Film Studies at University College London. His essays
have appeared in journals including Film History, Framework, Journal of Chinese
Cinemas, and Screen. He is currently working on a book about the filmmaker Lung
Kong and Hong Kong film history between the 1960s and 1970s.

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From Philosophy to Community-Based Research Coordination

112學年度心哲所春季心智系列講座
Title: From Philosophy to Community-Based Research Coordination

Our next 2024 Spring Research Seminar talk is on April 19 (Fri) 15:15-17:05. Information about this talk:
Speaker: Katherine Cheng
Time & Place: April 19 (Fri) 15:15-17:05, ZhiXing Building Room 321, Yang Ming campus in Taipei City, National Yang Ming Chiao Tung University
Online option: https://meet.google.com/ufx-wpsf-dnk
Format: In English


Abstract:
What is it like to transition from a career in academic philosophy to working as a Community-Based Research Coordinator? How may a philosopher bring values to community-based research and thrive in an alternative academic (alt-ac) career? In this presentation, I share the thrills and challenges of my journey moving beyond academia to negotiate research activities between community and university. I suggest that philosophers can contribute to this emerging field by helping to conceptualize the social roles of research and the justice of knowledge production. Engaging with these issues can also help challenge philosophers to reflect on the ways in which research is typically conducted in academic philosophy and beyond.
For more seminar information: https://forms.gle/bggagJWPLUT2K7W89

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Film Circulation and Mutual Influences between Hong Kong and Taiwan during the Cold War

Speaker: Jessica Siu-yin Yeung 
Research Assistant Professor at the Centre for Film and Creative Industries of Lingnan University
Chair: Louis Lo
Assistant Professor Institute of Visual Studies, NYCU

Time & Place: April 18th, 2024 (Fri) 10:00-12:00,
ZhiXing Building Room 322, Yang Ming campus in Taipei City, National Yang Ming Chiao Tung University
Online: https://meet.google.com/keb-dovb-cbw

Abstract

Film Circulation and Mutual Influences
between Hong Kong and Taiwan during the Cold War
From a Hong Kong and comparative perspective, Yeung argues that we should consider the structural similarities between the shared production conditions of taiyupian and Cantonese films, and adopt a broader view on the film circulation from wartime Shanghai, to post-war Hong Kong and Taiwan, in Mandarin, Cantonese and Taiyu. The porosity of these competitive film industries will be illustrated in this chapter with the particular example of the female spy series that spanned between 1946 to 1966, between Shanghai, Hong Kong and Taiwan. Yeung will show that taiyupian and Cantonese films share the same sources of materials from Chinese culture and the West. Moreover, Taiwan cinema (Taiyu and Mandarin) and Hong Kong cinema (Amoy, Cantonese and Mandarin) also influenced each other mutually. This chapter studies two pairs of taiyupian and Cantonese films, The Best Secret Agent 天字第一號 (1964) and Lady Spy No. 1 女間諜第一號 (1965) and The Tormented Beauty 烽火佳人 (1958) and the third film in The Best Secret Agent series, Golden Pheasant Heart 金雞心 (1965) to shed light on the connections between Taiyu cinema and Hong Kong Cantonese cinema during the Cold War.


Biographic Note

Jessica Siu-yin Yeung is Research Assistant Professor at the Centre for Film and Creative Industries of Lingnan University. Her essays have appeared in Journal of World Literature, a/b: Auto/Biography Studies, Cultural History, Archiv orientální, and various anthologies. Her essays on Hong Kong and Taiwanese spy films are forthcoming in Taiwanese-Language Cinema (Edinburgh), The Cinema of Stephen Chow (Bloomsbury), and ReFocus: The Historical Films of Ernst Lubitsch (Edinburgh) this year. She is working on an article on periodising early Hong Kong cinema, an article on post-2019 Hong Kong cinema, and a book on Taiwanese and Hong Kong queer allegorical films.

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Baroque Revenge: From Shakespeare to Park Chan-wook

Title: Baroque Revenge: From Shakespeare to Park Chan-wook

Date: 30 April 2024 (Tuesday)

Time: 1430-1630

Venue: Conference Room, 1st Floor, Institute of European and American Studies, Academia Sinica, Taiwan

Speaker: Dr. Louis Lo

Moderator: Professor Te-Hsing Shan, Distingished Research Fellow, Institute of European and American Studies, Academia Sinica, Taiwan

Abstract
Why do we need to theorize revenge? What is revenge? What is a revenger? Answers to these questions seem straight forward enough. Take the first question: Revenge is a counterblow to an offence or an injury. But why take revenge instead of forgive? For a sense of justice? But revenge is often excessive and produces more damage on the offender than the original crime. It is itself unjust and creates more rounds of revenge. An eye for an eye logic is said to be operating as a balancing act, but everyday experience tells us that it is not usually the case. In this talk I would like to try out an argument about revenge and its baroque nature by taking examples from literature (primarily Shakespearean revenge plays) and cinema (primarily contemporary Korean revenge films). The baroque style can be understood as excessive and exaggerated, characterized by theatricality and the stage, filled with contradictions and conflicts, operating in the realm of allegory, and its mood is melancholic. By enlisting theorists of revenge and the baroque including Nietzsche, Benjamin, and Deleuze vis-a-vis baroque critics such as Erik Roraback and William Egginton, I hope to arrive at an understanding of revenge that goes beyond what Nietzsche calls “the culture of revenge” which is reactionary, conservative, and spiteful.
Bio:
Louis Lo is Associate Professor at the Institute of Visual Studies and Director of Zhi Xing Art Space at National Yang Ming Chiao Tung University, Taiwan. He obtained his PhD in Comparative Literature from The University of Hong Kong in 2006. His research interests include the history of ideas, the city in representation, and temporality in Asian cinemas. He is the author of Male Jealousy: Film and Literature (Continuum, 2008) and Walking Macao, Reading the Baroque (HKUP, 2009, with J. Tambling). His recent articles appeared in The Right to Resist: Philosophies of Dissent (Bloomsbury, 2022), The Palgrave Encyclopedia of Urban Literary Studies (2022), and Shima: The International Journal of Research into Island Cultures.