Hsiu-Chuang Deppman

  • Professor of Chinese and Cinema Studies

Areas of Study

Education

  • PhD, University Wisconsin Madison, 1999
  • MA, University Wisconsin Madison, 1993
  • BA, National Cheng-Kung University, Taiwan, 1990

Biography

Hsiu-Chuang Deppman is professor of Chinese and cinema studies. Her research interests include history of cinema, film adaptation, documentary, media studies, comparative literature, and modern Chinese fiction.

Author of Adapted for the Screen: The Cultural Politics of Modern Chinese Fiction and Film (University of Hawai‘i Press, 2010) and Close-ups and Long Shots in Modern Chinese Cinemas (University of Hawai‘i Press, 2021), she has also published on narrative theory and Asian popular culture in refereed journals and edited volumes. She is currently writing a new book on Jia Zhangke’s cinema of reflection.

Her work has received the following support:

  • Fulbright Research Grant
  • Taiwan National Science Council Grant
  • Powers Travel Grant
  • Grant-in-Aid
  • GLCA/Mellon New Directions Initiative
  • Freeman Foundation Grant for Asian Studies
  • Chiu Scholarly Exchange Program for Taiwan Studies

  • Adaptation Study
  • History of Chinese Cinemas
  • Chinese and Taiwanese Documentary
  • Contemporary Chinese Fiction
  • Comparative Literature

  • East Asian Cinema
  • Chinese-Language Cinemas
  • Chinese Film and Literature
  • Modern Chinese Fiction
  • Comparative Literature

Spring 2024

Intermediate Chinese II — CHIN 202
Chinese Popular Cinema and Public Intellectualism — CINE 309
Chinese Popular Cinema and Public Intellectualism — EAST 309
Capstone Project — CHIN 500
Capstone Project — EAST 500

Fall 2024

Capstone Project — CHIN 500
Capstone Project — EAST 500

Notes

Hsiu-Chuang Deppman publishes book on Chinese cinema

November 12, 2020

Professor of Chinese and Cinema Studies Hsiu-Chuang Deppman published a new book, Close-ups and Long Shots in Modern Chinese Cinemas (University of Hawaii Press). Two of the most stylized shots in cinema—the close-up and the long shot—embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of life and reinforces our faith in reality. Each configures the relation between image and distance that expands the viewer’s power to see, feel, and conceive. 

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