Hsiu-Chuang Deppman

  • Professor of Chinese and Cinema Studies

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 the history of cinema, film adaptations, documentaries, and modern Chinese fiction.

She is the author of Adapted for the Screen: the Cultural Politics of Modern Chinese Fiction and Film (University of Hawai‘i Press, 2010) and has published on Chinese film and literature in the Routledge Handbook of East Asian Popular Culture, Columbia Companion to Modern Chinese Literature, Journal of Chinese Cinemas, Documenting Taiwan on Film, Eileen Chang: Romancing Languages, Cultures and Genres, Stir/Still: Approaching the Field of Vision, TV China, positions: east asia cultures critique, Journal of Narrative Theory, and Modern Chinese Literature and Culture.

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

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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