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    • The Crew: Antonioni’s Australian film that was not to be

      Brian Hu
      March 2015
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    • “A long time ago….”: The Persistence and Longevity of ‘Star Wars’ at 45

      Tara Lomax
      October 2022
    • The Larrikin Girl: Challenging archetypes in Australian cinema

      Mark Freeman & Eloise Ross
      October 2022
    • Unrealisable woman: Tania in Stanley Kubrick’s Aryan Papers

      Joy McEntee
      October 2022
    • Anatomy of a Breakup or Her Life to Fix: The Worst Person in the World

      Salvador Carrasco
      October 2022
    • Respecting the Lives of Others: Bergman Island, Hommage and Anaïs in Love

      Anthony McKibbin
      August 2022
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      Selen Ozturk
      July 2022
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      Brian Hu
      July 2021
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      Andrew Northrop
      October 2022
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      Maria Giovanna Vagenas
      October 2022
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      Maja Korbecka
      July 2022
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      Maria Giovanna Vagenas
      July 2022
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      Savina Petkova
      May 2022
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      Silvia Spitta & Gerd Gemünden
      May 2022
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      Brian Hu
      March 2003
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      Jeremy Carr
      October 2022
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      Hal Young
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      Sara Delshad
      October 2022
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      Sanya Osha
      May 2022
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      Darragh O’Donoghue
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      Jeremy Carr
      January 2022
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      Brian Hu
      October 2022
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      Joy McEntee
      May 2022
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      Mark Lager
      May 2022
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      Jessica Balanzategui
      January 2022
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      Brian Hu
      December 2014
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      Levan Tskhovrebadze
      October 2022
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      Nolan Kelly
      October 2022
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      Andrew Northrop
      October 2022
    • Setting the World Ablaze: Notes from the 30th Curtas Vila do Conde International Film Festival

      Susana Bessa
      October 2022
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      Jaimey Fisher
      October 2022
    • Living Ghosts at the Melbourne International Film Festival

      Eloise Ross
      October 2022
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      Film Curatorship: Archives, Museums, and the Digital Marketplace edited by Paolo Cherchi Usai, David Francis, Alexander Horwath and Michael Loebenstein

      Brian Hu
      July 2010
      Book Reviews
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    • Philosophy for the Blockbuster Audience: Christopher Nolan: Filmmaker and Philosopher, by Robbie B. H. Goh

      Tom Boniface-Webb
      October 2022
    • Do we need Digital Tarkovsky?

      Corey P. Cribb
      October 2022
    • Trafic at 30, End of a Film Journal

      Emmanuel Bonin
      July 2022
    • How to Do Things with Camera Movement: The Lure of the Image: Epistemic Fantasies of the Moving Camera, by Daniel Morgan

      Kyle Barrowman
      May 2022
    • The Depths of Empiricism: Werner Herzog: Ecstatic Truth and Other Useless Conquests, by Kristoffer Hegnsvad

      Tony McKibbin
      January 2022
    • Hollywood, Reinvented: Shooting Midnight Cowboy: Art, Sex, Loneliness, Liberation, and the Making of a Dark Classic, by Glenn Frankel

      Elroy Rosenberg
      January 2022
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    • “The temperate zone’: Humphrey Jennings’ Words for Battle

      Brian Hu
      September 2013
      CTEQ Annotations on Film
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    • The Lure (Agnieszka Smoczyńska, 2015)

      Faith Everard
      December 2022
    • Othering Heights: The Queerest of the Queer in Rosa von Praunheim’s City of Lost Souls (1983)

      Cerise Howard
      December 2022
    • To walk away, you gotta leave something behind, or a long story short: Hedwig and the Angry Inch (2001)

      Cerise Howard
      December 2022
    • Lost Paradise: F.W. Murnau’s Tabu: A Story of the South Seas (1931)

      Andréas Giannopoulos
      November 2022
    • Nosferatu: Eine Symphonie des Grauens (Nosferatu: A Symphony of Horror, F.W. Murnau, 1922)

      Martyn Bamber
      November 2022
    • Sunrise: A Song of Two Humans (F.W. Murnau, 1927)

      Jacob Agius
      October 2022
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Author Brian Hu

Brian Hu

Brian Hu is Assistant Professor of Television, Film, and New Media at San Diego State University. He is the author of Worldly Desires: Cosmopolitanism and Cinema in Hong Kong and Taiwan (Edinburgh University Press, 2018), and his writing on film has appeared in Screen, Film Quarterly, and Journal of Chinese Cinemas. He is the Artistic Director of the San Diego Asian Film Festival.

“To All Beautiful Losers”: Political Pessimism and the Hong Kong Sports Movie

Brian Hu
July 2020
Feature Articles
This article has been peer-reviewed. In the sports drama Dim ng bou (Weeds on Fire, Chan Chi-fat, 2016), high school principal Lo Kwong-Fai proposes to the administration his idea of forming Hong Kong’s firs...
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The World Before Our Eyes: Taipei International Film Festival

Brian Hu
May 2006
Festival Reports
June 26–July 7, 2005 Is there no better metaphor for the ubiquitous “international film festival” than the theme park at the center of Jia Zhang-ke’s The World (2004)? I’ve seen the film at more than one...
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Formula 17: Testing a Formula for Mainstream Cinema in Taiwan

Brian Hu
February 2005
Feature Articles
After 20 years of producing cinema at each extreme – lowbrow mainstream fodder and a formal, serious and politically engaged cinema – Taiwan has turned out its first cross-over hit in the form of a youthful tale of gay utopia!
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To Each Their Own: Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia edited by Jenny Kwok Wah Lau

Brian Hu
July 2004
Book Reviews
The blanket terms “Asian cinema” and “East Asian cinema” tend to elide the distinctive ways individual nations, regions, and cities have represented themselves in the face of cultural domination. Jenny Kwok Wah...
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Goodbye City, Goodbye Cinema: Nostalgia in Tsai Ming-liang’s The Skywalk is Gone

Brian Hu
December 2003
Feature Articles
Serial alienation in the modern city: a discussion of the multiple "lost objects" of mourning in Tsai Ming-liang's recent short film, ranging from bygone eras of Chinese and Taiwanese cinema to Tsai's own previous features.

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