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no photo Paul G. Pickowicz 
Distinguished Professor of History and Chinese Studies
UC San Diego Endowed Chair in Modern Chinese History

Department of History
University of California, San Diego
9500 Gilman Drive MC 0104
La Jolla , California , 92093-0104
bikewei@ucsd.edu
(858) 534-2697
H&SS Room: 3072

Education

  • Ph.D., University of Wisconsin, Madison, 1973 (History)
  • M.A., Tufts University, 1968 (History)
  • B.S., Springfield College, 1967 (History)

Academic Appointments

  • Assistant, Associate, and Full Professor of History, UC San Diego, 1973-2006
  • Above Scale Distinguished Professor of History, UC San Diego, 2006-present
  • Visiting Professor, City University of Hong Kong, 2004
  • Distinguished Visiting Scholar, University of Oxford, 2006
  • Visiting Senior Research Fellow, East Asian Institute, National University of Singapore, 2008
  • Distinguished Visiting Scholar, Si-Mian Institute for Advanced Studies in Humanities, East China Normal University, Shanghai, China, 2010
  • Distinguished Visiting Fellow, Faculty of Arts and Social Sciences, Department of Chinese Studies, National University of Singapore, 2011.

Honors

  • 1993 Joseph R. Levenson Prize of the Association for Asian Studies for Chinese Village, Socialist State – Best book on 20th century China in any discipline.
  • 1998 UCSD Alumni Association Distinguished Teaching Award
  • 2003 UCSD Chancellor’s Associates Faculty Award for Excellence in Graduate Teaching
  • 1998-present Member, Editorial Board, Modern Chinese Literature and Culture
  • 2006-present Member, Advisory Board, Journal of Chinese Cinemas
  • 2007-present Inaugural Holder of the University of California, San Diego Endowed Chair in Modern Chinese History
  • 2009 UCSD Academic Senate Distinguished Teaching Award
  • 2009-present International Advisory Group, Humanities Korea Project, Center for Interdisciplinary Research on China, Kookmin Univerisity, Seoul, Korea
  • 2010-present Member, Editorial Board, Zhongguo dangdai shi yanjiu [Journal of Contemporary Chinese History] (Shanghai)
  • 2011-present Member, Editorial Board,Chinese Historical Review

Books

  • China on Film: A Century of Exploration, Confrontation, and Controversy. New York: Rowman and Littlefield Publishers, 2012.
  • Radicalism, Revolution, and Reform in Modern China. New York: Lexington Books, 2011. (Co-edited with Catherine Lynch and Robert B. Marks).
  • China on the Margins. Ithaca: Cornell University East Asia Series, 2010. (Co-edited with Sherman Cochran).
  • Exhibiting Chinese Cinemas, Reconstructing Reception, Special Issue of Journal of Chinese Cinemas, vol. 3, no. 2, 2009. (Co-edited with Matthew Johnson).
  • Dilemmas of Victory: The Early Years of the People’s Republic of China. Cambridge: Harvard University Press, 2007. (Co-edited with Jeremy Brown).
    Chinese edition: Shengli de kunjing: Zhonghua renmin gongheguo de zuichu suiyue. Xianggang: Zhongwen daxue chuban she, 2011.
  • From Underground to Independent: Alternative Film Culture in Contemporary China. New York: Rowman and Littlefield Publishers, 2006. (Co-edited with Yingjin Zhang).
  • The Chinese Cultural Revolution as History. Stanford: Stanford University Press, 2006. (Co-edited with Joseph Esherick and Andrew Walder).
  • Revolution, Resistance, and Reform in Village China. New Haven: Yale University Press, 2005. (Co-authored with Edward Friedman and Mark Selden).
  • Popular China: Unofficial Culture in a Globalizing Society. New York: Rowman and Littlefield Publishers, 2002. (Co-edited with Perry Link and Richard Madsen).
  • New Chinese Cinemas: Forms, Identities, Politics. Cambridge: Cambridge University Press, 1994. (Co-edited with Nick Browne, Vivian Sobchack and Esther Yau).
  • Chinese Village, Socialist State. New Haven: Yale University Press, 1991. (Co-authored with Edward Friedman and Mark Selden).
             Chinese edition: Zhongguo xiangcun - shehuizhuyi guojia. Beijing: Shehui kexue wenxian chuban she, 2002.
  • Unofficial China: Popular Culture and Thought in the People's Republic. Boulder: Westview Press, 1989. (Co-edited with Perry Link and Richard Madsen).
  • Marxist Literary Thought in China: The Influence of Ch'u Ch'iu-pai. Berkeley: University of California Press, 1981.
    Korean edition:  Chungguk Maruk'usujuui Munyeiron: Kuch'ubaegui Yonghyang.  Seoul: Ch'ongnyonsa, 1991.
    Chinese edition: Shusheng zhengzhijia: Qu Qiubai qu zhe de yisheng. Beijing: Zhongguo zhuoyue chuban gongsi, 1990.
  • Marxist Literary Thought and China: A Conceptual Framework.  Berkeley: The Center for Chinese Studies, University of California, Berkeley, 1980.
    Chinese edition: "Makesizhuyi wenxue sixiang yu Zhongguo," in Zhongguo shehui kexue yuan wenxue yanjiu suo, ed., Guowai Zhongguo wenxue yanjiu luncong. Beijing: Zhongguo wenlian chuban gongsi, 1985.

Articles

  • "Single Women and the Men in Their Lives: Zhang Ailing and Postwar Visual Images of the Modern Metropolis," in Christian Henriot and Wen-hsin yeh, eds. Visualizing China: Life/Still Images in Historical Narratives (Leiden: Brill Publishers, forthcoming, 2012). (Co-authored with Yap Soo Ei).
  • Translation of "Listen Carefully to the Voices of te Tiananmen Mothers" (1991) and "Obama's Election, the Republican Factor, and a Proposal for China" (2008) by Liu Xiaobo, in Perry Link, Tianchi Martin-Liao, and Liu Xia, eds., No Hatred, No Enemies: Selected Essays and Poems (Cambridge: Harvard University Press, 2012), pp. 3-12, 270-274.
  • "2010 nian Shanghai xueshu he keyan zhi fanxiang" (Reflections on the scholarly and research environment in Shanghai in 2010), in Shanghai shi shehui kexue jielian he hui, ed., Shanghai xueshu baogao (A report on the Shanghai scholarly scene) (Shanghai: Renmin chuban se, 2011), pp. 34-43.
  • “Chinese Filmmaking on the Eve of the Communist Revolution,” in Song Hwee Lim and Julian Ward, eds., The Chinese Cinema Book (London: Palgrave Macmillan, 2011), pp. 76-84.
  • “Independent Chinese Film: Seeing the Not-Usually-Visible in Rural China,” in Catherine Lynch, Robert C. Marks, and Paul G. Pickowicz, eds., Radicalism, Revolution, and Reform in Modern China (New York: Lexington Books, 2011), pp. 161-184.
  • “Chinese Radicalism in Historical Context,” in Catherine Lynch, Robert B. Marks, and Paul G. Pickowicz, eds., Radicalism, Revolution, and Reform in Modern China (New York: Lexington Books, 2011), pp. 1-9. (Co-authored with Catherine Lynch and Robert C. Marks).
  • “Revisiting Cold War Propaganda: Close Readings of Chinese and American Film Representations of the Korean War,” Journal of American-East Asian Relations, vol. 17, no. 4, 2010. pp. 352-371.
    Chinese edition: “Zhong-Mei dianying zhong de Chaoxian zhanzheng xingxiang,” Zhongguo dangdai shi yanjiu, no. 3, August 2011), pp. 249-266.
  • “Centers and Margins in Chinese History,” in Sherman Cochran and Paul G. Pickowicz, eds., China on the Margins (Ithaca: Cornell University East Asia Series, 2010), pp. 1-13. (Co-authored with Sherman Cochran).
  • “China’s Soft Power: The Case for a Critical and Multi-dimensional Approach,” China Review International, vol. 16, no. 4, 2009, pp. 439-455.
  • “Issues in Contemporary Chinese Family Law: Media and Field Evidence,” in Harry N. Scheiber and Luarent Mayali, eds., Japanese Family Law in Comparative Perspective (Berkeley: The Robbins Collection, 2009), pp. 259-271.   
  • “Exhibiting Chinese Cinemas, Reconstructing Reception,” Journal of Chinese Cinemas, vol. 3, no. 2, 2009, pp. 99-107. (Co-authored with Matthew Johnson).
  • “Three Readings of Hong Kong Nocturne,” in Poshek Fu, ed., China Forever: The Shaw Brothers and Diasporic Cinema (Urbana: University of Illinois Press, 2008), pp. 95-114.
    Chinese edition:  “Xiangjiang huayue ye de san zhong jiedu,” in Liu Hui, Fu Baoshi, Xianggang de ‘Zhongguo’: Shao shi dianying. Xianggang: Niujin daxue chuban she, pp. 41-62.
  • “Acting Like Revolutionaries: Shi Hui, the Wenhua Studio, and Private-Sector Filmmaking, 1949-52,” in Jeremy Brown and Paul G. Pickowicz, eds., Dilemmas of Victory: The Early Years of the People’s Republic of China (Cambridge: Harvard University Press, 2007), pp. 256-287, 426-429.
    Chinese edition: “Xiang gemingzhe yiyang yanxi: 1949-52 nianjian de Shi Hui, Wenhua yingye gongsi, he siying dianying zhippianchang,” in Zhou Jierong, Bi Kewei, Shengli de kunjing: Zhonghua renmin gongheguo de zuichu suiyue. Xianggang: Zhongwen daxue chuban she, 2011, pp. 271-302.
  • “The Early Years of the People’s Republic of China: An Introduction,” in Jeremy Brown and Paul G. Pickowicz, eds., Dilemmas of Victory: The Early Years of the People’s Republic of China (Cambridge: Harvard University Press, 2007), pp. 1-18, 387-389. (Co-authored with Jeremy Brown).
    Chinese edition: “Zhonghua renmin gongheguo de zuichu suiyue: yinlun,” in Zhou Jierong, Bi Kewei, Shengli de kunjing: Zhonghua renmin gongheguo de zuichu suiyue.  Xianggang: Zhongwen daxue chuban she, 2011, pp. 1-19.
  • Chunjiang yihen de shishi feifei yu lunxian shiqi de Zhongguo dianying” (Never-ending Controversies: The Case of Remorse in Shanghai and Occupation Era Chinese Filmmaking), Wenyi yanjiu (Literature and Art Research), no. 1, 2007, pp. 105-113.
  • “From Yao Wenyuan to Cui Zi’en: Film, History, Memory,” Journal of Chinese Cinemas, vol. 1, no. 1, 2007, pp. 41-53.
  • “Rural Protest Letters: Local Perspectives on the State’s Revolutionary War on Tillers, 1960-1990,” in Ching Kwan Lee and Guobin Yang, eds., Re-visioning the Chinese Revolution: The Politics and Poetics of Collective Memories in Reform China (Stanford: Stanford University Press, 2007), pp. 21-49.
  • “Zheng Junli, Complicity and the Cultural History of Socialist China, 1949-1976,” The China Quarterly, no. 188, December 2006, pp. 1048-1069.
  • “Social and Political Dynamics of Underground Filmmaking in China,” in Paul G. Pickowicz and Yingjin Zhang, eds., From Underground to Independent: Alternative Film Culture in Contemporary China (New York: Rowman and Littlefield, 2006), pp. 1-21.
  • “The Chinese Cultural Revolution as History,” in Joseph Esherick, Paul G. Pickowicz, and Andrew Walder, eds., The Chinese Cultural Revolution as History (Stanford: Stanford University Press, 2006), pp. 1-28 (Co-authored with Joseph Esherick and Andrew Walder).
  • “Women and Wartime China: The Strange Case of Tian Han’s Liren xing,” in Christian Henriot and Wen-hisn Yeh, eds., In the Shadow of the Rising Sun: Shanghai under Japanese Occupation, 1937-1945.  (Cambridge: Cambridge University Press, 2004), pp. 346-361. 
  • “Pa Chin’s Cold Nights and China’s Wartime and Postwar Culture of Disaffection,” in Pa Chin, Cold Nights (Chinese-English Bilingual Edition) (Hong Kong: The Chinese University Press, 2002), pp. iix-xxxiii.
  • “Village Voices, Urban Activists: Women, Violence, and Gender Inequality in Rural China,” in Perry Link, Richard Madsen, and Paul G. Pickowicz, eds., Popular China: Unofficial Culture in a Globalizing Society (New York: Rowman and Littlefield, 2002), pp. 57-87 (Co-authored with Liping Wang).
  • “Introduction to Popular China,” in Perry Link, Richard Madsen, and Paul G. Pickowicz, eds., Popular China: Unofficial Culture in a Globalizing Society (New York: Rowman and Littlefield, 2002), pp. 1-8 (Co-authored with Perry Link and Richard Madsen).
  •  “On Kirk Denton’s The Problematic of Self in Modern Chinese Literature: Hu Feng and Lu Ling,” Harvard Journal of Asiatic Studies, vol. 60, no. 2, December 2000, pp. 638-646.
  • “Filme und die Legitimation des Staates im Heutigen China” (Filmmaking and the State’s Quest for Legitimacy in Contemporary China), in Kai Vockler and Dirk Luckow, eds., Peking, Shanghai, Shenzhen: Stadte des 21. Jahrhunderts (Beijing, Shanghai, Shenzhen: Cities of the 21st Century) (Frankfurt: Campus Verlag GmbH, 2000), pp. 402-411, 566-570.
  • “Victory as Defeat: Postwar Visualizations of China’s War of Resistance,” in Wen-hsin Yeh, ed., Becoming Chinese: Passages to Modernity and Beyond, 1900-1950 (Berkeley: University of California Press, 2000), pp. 365-398.
  • “Remembering a Holocaust: Post-War Film Portraits of the War of Resistance,” in Proceedings of  the Centennial Symposium on Sun Yat-sen’s Founding of the Kuomintang for Revolution (Taipei: National Historical Commission, 1995), vol. 3, pp. 117-146.
  • "Velvet Prisons and the Political Economy of Chinese Filmmaking," in Deborah Davis, Richard Kraus, Barry Naughton, and Elizabeth Perry, eds., Urban Spaces: Autonomy and Community in Contemporary China (Cambridge: Cambridge University Press, 1995), pp. 193-220.
  • "Memories of Revolution and Collectivization in China: The Unauthorized Reminiscences of a Rural Intellectual," in Rubie S. Watson, ed., Memory, History, and Opposition under State Socialism (Sante Fe: School of American Research Press, 1994), pp. 127-147.
  • "Huang Jianxin and the Notion of Postsocialism," in Nick Browne, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau, eds., New Chinese Cinemas: Forms, Identities, Politics (Cambridge: Cambridge University Press, 1994), pp. 57-87. 
  • "Sinifying and Popularizing Foreign Culture: From Maxim Gorky's The Lower Depths to Huang Zuolin's Ye dian," Modern Chinese Literature, vol. 7, no. 2, Fall 1993, pp. 7-31.
  • "Melodramatic Representation and the 'May Fourth' Tradition of Chinese Cinema," in Ellen Widmer and David Der-wei Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentieth Century China (Cambridge: Harvard University Press, 1993), pp. 295-326, 425-428.
    Chinese edition: “Tongsu ju,Wusi chuantong yu Zhongguo dianying,” in Zheng Shusen, ed., Wenhua piping yu Huayu dianying (Taibei: Mai tian, 1995), pp. 35-67.
  • "The Theme of Spiritual Pollution in Chinese Films of the 1930s," Modern China, vol. 17, no. 1, January 1991, pp. 38-75.
  • "The Chinese Anarchist Critique of Marxism-Leninism," Modern China, vol. 16, no. 4, October 1990, pp. 450-467.
  • "Popular Cinema and Political Thought in Post-Mao China: Reflections on Official Pronouncements, Film, and the Film Audience," in Perry Link, Richard Madsen, and Paul G. Pickowicz, eds., Unofficial China (Boulder: Westview Press, 1989), pp. 37-53.
  • "Introduction to Unofficial China," in Perry Link, Richard Madsen, and Paul G. Pickowicz, eds., Unofficial China (Boulder: Westview Press, 1989), pp. 1-13 (Co-authored with Perry Link and Richard Madsen).
  • "The Limits of Cultural Thaw: Chinese Cinema in the Early 1960s," in Chris Berry, ed., Perspectives on Chinese Cinema (Ithaca: Cornell University East Asia Papers, 1985), pp. 97-148. 
  • Introduction to and Translation of "Cries from Death Row" (1980) by Jin Yan-hua and Wang Jing-quan, in Perry Link, ed., Stubborn Weeds: Popular and Controversial Literature after the Cultural Revolution (Bloomington: Indiana University Press, 1983), pp. 96-114.
  • Introduction to and Translation of "Realism Today" (1943) by Hu Feng, in Kai-yu Hsu, ed., The Literature of the People's Republic of China (Bloomington: Indiana University Press, 1980), pp. 62-67. (Reprinted in Kirk A. Denton, ed., Modern Chinese Literary Thought: Writings on Literature, 1893-1945 [Stanford, Stanford University Press], 1996, pp. 485-490.)
  • "Qu Qiubai's Critique of the May Fourth Generation: Early Chinese Marxist Literary Criticism," in Merle Goldman, ed., Modern Chinese Literature in the May Fourth Era (Cambridge: Harvard University Press, 1977), pp. 351-384, 446-449.
    Chinese edition: "Qu Qiubai dui 'Wusi' yidai de piping: Zhongguo zaoqi de Makesizhuyi wenxue piping," in Jia Zhifang, ed., Zhongguo xiandai wenxue de zhuchao (Shanghai: Fudan daxue chuban she, 1990), pp. 184-207.
  • "Ch'u Ch'iu-pai and the Chinese Marxist Conception of Revolutionary Popular Literature and Art," The China Quarterly, no. 70, June 1977, pp. 296-314.
  • "Lu Xun Through the Eyes of Qu Qiu-bai: New Perspectives on Chinese Marxist Literary Polemics of the 1930s," Modern China, vol. 2, no. 3, July 1976, pp. 327-368.
  • Introduction to and Translation of "Who's 'We'?" (1932) and "The Question of Popular Literature and Art" (1932) by Qu Qiu-bai, Bulletin of Concerned Asian Scholars, vol. 8, no. 1, January-March 1976, pp. 45-52. (Reprinted in John Berninghausen and Ted Huters, eds., Revolutionary Literature in China: An Anthology [New York: M.E. Sharpe, 1977], pp. 44-51 and in Kirk A. Denton, Modern Chinese Literary Thought: Writings on Literature, 1893-1945 [Stanford: Stanford University Press, 1996], pp. 418-427.) 
  • "Ch'u Ch'iu-pai: Die Verbindung von Politik und Kunst in der chinesischen Revolution," in Peter J. Opitz, ed., Die Sohne des Drachen: Chinas Weg vom Konfuzianismus zum Kommunismus (Munchen: Paul List Verlag, 1975, pp. 292-321, 368-370.     
  • "Modern China's Artistic and Cultural Life," The Holy Cross Quarterly, vol. 7, nos. 1-4, June 1975, pp. 108-116.
  • "Cinema and Revolution in China: Some Interpretive Themes," American Behavioral Scientist, vol. 17, no. 3, January-February 1974, pp. 328-359. (Reprinted in Barbara Tulloch, ed., Conflict and Control in the Cinema [Melbourne: The Macmillan Company, 1977], chapter 38.)
  • "People, Politics, and Paramedicine in China," in Guenter Risse, ed., Modern China and Traditional Chinese Medicine (Springfield: Charles C. Thomas Publisher, 1973), pp. 124-146.
  • "William Wood in Canton: A Critique of the China Trade Before the Opium War," Essex Institute Historical Collections, Vol. CVII, No. 1, January 1971, pp. 3-34.

Short Essays

  • “Images of the Chinese Cultural Revolution,” @UCSD: An Alumni Publication, vol. 4, no. 2, May 2007, pp. 28-31.
  • "Long Bow: The Movie," American Anthropological Association Society for Visual Anthropology Newsletter, vol. 3, no. 3, Fall 1987, pp. 1-3.
  • "Early Chinese Cinema: The Era of Exploration," Modern Chinese Literature, vol. 1, no. 1, September 1984, pp. 135-138.
  • "Deng's New Hat Factory," Far Eastern Economic Review, October 19, 1979, pp. 38-40.
  • Comment on "A Study of the Origins of Chinese Communism with Special Reference to the Initial Impact of Leninism," by Michael Yan-lung Luk, in Lee Ngok and Leung Chi-keung, eds., China: Development and Challenge (Hong Kong: Centre for Asian Studies, 1979), vol. 1, pp. 56-58.
  • "The Arts," in China! Inside the People's Republic (New York:  Bantam Books, 1972), pp. 247-265.
  • "Inside China Today," The Progressive, vol. 36, no. 1, January 1972, pp. 13-19.
  • "The Modern Revolutionary Peking Opera 'Taking Tiger Mountain by Strategy': An American's View," Eastern Horizon. vol. 10, no. 4, 1971, pp. 31-34.

Reviews

  • Cinema and Urban Culture in Shanghai, 1922-1943, edited by Yingjin Zhang, in Pacific Affairs, vol. 73, no. 4, Winter 2000-2001, pp. 578-579 .
  • Chinese Modernism in the Era of Reforms, by Xudong Zhang, in The China Quarterly, no. 157, March 1999, pp. 246-248.
  • Hungry Ghosts: Mao’s Secret Famine, by Jasper Becker, in The Wall Street Journal, vol. CXXXVI, no. 27, February 7, 1997. 
  • The Private Life of Chairman Mao, by Li Zhisui, in The Wall Street Journal, vol. CCXXIV, no. 100, November 21, 1994, p. A14.
  • Passivity, Resistance, and Collaboration: Intellectual Choice in Occupied Shanghai, 1937-1945, by Poshek Fu, in Journal of Asian Studies, vol. 53, no. 3, August 1994, pp. 913-915.
  • Chen Village: Under Mao and Deng, by Anita Chan, Richard Madsen, and Jonathan Unger, in The Australian Journal of Chinese Affairs, Issue 31, January 1994, pp. 135-138.
  • State and Society in China: The Consequences of Reform, edited by Arthur Rosenbaum, and Popular Protest and Political Culture in Modern China: Learning from 1989, edited by Jeffery Wasserstrom and Elizabeth Perry, in American Political Science Review, March 1993, vol. 87, no. 1, pp. 249-250.
  • Politics and Literature in Shanghai: The Chinese League of Left-Wing Writers, 1930-36, by Wang-chi Wong, in Journal of Asian Studies, vol. 51, no. 3, August 1992, pp. 662-663.
  • The Last Emperor, by Bernardo Bertolucci, in The American Historical Review, vol. 94, no. 4, October 1989, pp. 1035-1036.
  • Hu Shih and Intellectual Choice in Modern China, by Min-chih Chou, in Journal of Asian Studies, vol. XLV, no. 1, November 1985, pp. 105-108.
  • Winter Plum: Contemporary Chinese Fiction, Nancy Ing, ed., in Journal of Oriental Studies, vol. 22, no. 1, 1984, pp. 83-84.
  • Modern Chinese Fiction: A Guide to its Study and Appreciation, Winston L. Y. Yang and Nathan K. Mao, eds., and Modern Chinese Stories and Novellas 1919-1949, Joseph S. M. C. Lau, C. T. Hsia, and Leo Ou-fan Lee, eds., in Journal of Asian Studies, vol. XLII, no. 3, May 1983, pp. 652-655.
  • The Drowning of an Old Cat and Other Stories, by Hwang Chun-ming, in Journal of Asian Studies, vol. XLI, no. 2, February 1982, pp. 329-330.
  • Popular Media in China: Shaping New Cultural Patterns, Godwin C. Chu, ed., in Journal of Asian Studies, vol. XXXIX, no. 2, February 1980, pp. 342-343.
  • The Crisis of Chinese Consciousness: Radical Antitraditionalism in the May Fourth Era, by Lin Yu-sheng, in Pacific Affairs, vol. 52, no. 3, Fall 1979, pp. 516-518.
  • Cold Nights, by Pa Chin, in Eastern Horizon, vol. XVII, no. 6, June 1979, p. 49.
  • Revolutionary Literature in China: An Anthology, John Berninghausen and Ted Huters, eds., in The China Quarterly, no. 73, March 1978, pp. 191-193.
  • The Romantic Generation of Modern Chinese Writers, by Leo Ou-fan Lee, in The China Quarterly, no. 59, July-September 1974, pp. 610-612.
  • The Politics of Heroin in Southeast Asia, by Alfred McCoy, in Eastern Horizon, vol. XII, no. 2, 1973, pp. 58-61.
  • The Introduction of Western Literary Theories Into China, 1919-1925, by Bonnie S. McDougall, and Mao Tun and Modern Chinese Literary Criticism, by Marian Galik, in Literature East and West, Winter 1973, pp. 519-522.
  • The Yenan Way in Revolutionary China, by Mark Selden, in Eastern Horizon, vol XI, no. 1, 1972, pp. 61-64.
  • Modern Chinese Stories, W. J. F. Jenner, ed., in Journal of Asian Studies, vol. XXX, no. 4, August 1971, pp. 888-889.

Documentary Filmmaking Credits

  • Academic Adviser, China: Born under the Red Flag, 1976-1992, two hours, Ambrica Productions (New York) and WGBH (Boston), 1997.
  • Associate Producer, The Mao Years, 1949-1976, two hours, Ambrica Productions (New York) and WGBH (Boston), 1994.
  • Academic Adviser, The Pacific Century, Episode #4 Writers and Revolutionaries, one hour, The Pacific Basin Institute (Santa Barbara) and KCTS (Seattle), 1992.
  • Academic Adviser, Westward to China: The American Experience in China in the 20th Century, one hour, James Culp Productions (San Francisco), 1990.
  • Academic Adviser, China in Revolution, 1911-1949, two hours, Ambrica Productions (New York) and WGBH (Boston), 1989.