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Ying Xiao

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Associate Professor of Chinese Film and Media
Undergraduate Adviser
Ph.D., New York University

Office Hours – Fall 2019

  • No office hours — on sabbatical Fall 2019 and Spring 2020


Dr. Ying Xiao is an associate professor of film and media studies and Chinese studies at the University of Florida. She received her PhD. from Cinema Studies at New York University. Her teaching and research interests primarily concentrate on Chinese-language films (mainland, Taiwan and Hong Kong), Chinese in Hollywood, Classical Hollywood cinema in the sound era, popular music, youth culture, sound studies, theories of globalization and trans nationalism, Buddhism and film, and the discourse of gender and sexuality.

She is the book author of China in the Mix: Cinema, Sound, and Popular Culture in the Age of Globalization (University Press of Mississippi, 2017) and has published many articles on neoliberalism and Chinese film industry, Chinese hip hop culture, Chinese rock ‘n’ roll film, and Chinese documentaries. Before joining the University of Florida, she was involved in a series of TV and documentary productions. She has participated in the curator-ship of Reel China Documentary Film Festival since 2004 and organized “DV China and Social Change” film series and workshop in 2011, “Sound of China: Folklore, Rock ‘n’ Roll, and Chinese Hip Hop” symposium in 2013, and “Shanghai in a Global Context: Cinema, Media, and the Crossing of Imaginations” international workshop in 2017. Dr. Xiao was a visiting professor and research fellow in Fudan University in 2017 and taught many universities including Xiamen University in 2018. She sits on three editorial boards for the internationally acclaimed journals and serves as a manuscript reviewer for many academic journals and presses.

Areas of Interest

Chinese cinema and Sinophone studies, soundtrack, mass culture and media, popular music and youth culture, globalization and multiculturalism, transnational and diaspora studies, Buddhism and film, gender studies and bodily representation.

Selected Publications

China in the Mix: Cinema, Sound, and Popular Culture in the Age of Globalization. Jackson: University Press of Mississippi, 2017. (124,845 words).

ReFocus: The Films of Jia Zhangke: A Historical Poetics of Space (co-author with Maureen Turim, 75,000 words, Edinburgh University Press, forthcoming).

Lingyan xiangkan: haiwai xuezhe ping dangdai zhongguo jilupian [Reel China: A New Look at Contemporary Chinese Documentary] (assistant editor, edited by Ping Jie). Shanghai: Wenhui Press, 2006.

Refereed Journal Articles and Book Chapters:

“In Search of a Chinese Hamlet: Translation, Interpretation, and Personalities in Postwar Film-Cultural Exchange.” In Representing Translation: Languages, Translation, and Translators in Contemporary Media, edited by Dror Abend-David. New York: Bloomsbury Academic, 2018, 25 pages (forthcoming, accepted for publication and in press).

“‘Lust, Caution!?:’ Shanghai and the Transnational and Transgressive Imaginations in Classical Hollywood Cinema.” Asian Cinema 28.2 (October 2017): 139-159

“Chinese Rock ‘n’ Roll and Cui Jian on Screen.” In The Oxford Handbook of New Audiovisual Aesthetics, edited by Claudia Gorbman, John Richardson, and Carol Vernallis, 266-283: Oxford University Press, 2013.

“Leitmotif”: State, Market, and Postsocialist Chinese Film Industry under Neoliberal Globalization.” In Neoliberalism and Global Cinema: Capital, Culture, and Marxist Critique, edited by Jyotsna Kapur and Keith B. Wagner. Routledge, 157-179. New York and London, Routledge, 2011.

“Hip Hop Is My Knife, Rap Is My Sword’: Hip Hop, Cultural (Re)production and the Question of Authenticity and Authorship in Contemporary China.” Special Issue ofThree Asias: Japan, S. Korea, China. Paradoxa: Studies in World Literary Genres 22 (2010): 269-298.

“Xi zhangjie dui xin nvxing de tansuo” [An Exploration on the New Woman in Zhang Jie’s Works]. Xi’an shiyou daxue xuebao, no. 4 (2004): 56-60.

“Wo zai xiacun de shihou’ji si wu shi niandai de wenyi lunzheng” [“My Stay at Xia Village” and Literary Polemics in the 1940s and 1950s]. Jishou daxue xuebao[Journal of Jishou University], no. 2 (2001): 51-54.

“Cuizai zhi jing de tanxun yu zijiu: zai xiyu zhong huhan dujie” [Yu Hua and the Search for Being: A Reflection on Cries in the Drizzle]. In Yucai zhi lu xin zuji: Beijing daxue zhoujie wenke zonghe shiyan ban [A Pedagogical Breakthrough: The Anthology of the Humanities Honors at Peking University], edited by Yixing Zhang, 139-158. Beijing: Beijing Broadcasting Institute Press, 1999.

Book Reviews, Proceedings, and Translations

“Overture: Sound, Image, and Popular Media at the Nexus of Global-China,” translated by Li Jianpeng, Dianying yanjiu [Film Studies] 6 (2018), 15 pages (forthcoming and accepted for publication).

Review of Naomi Greene, From Fu Manchu to Kung Fu Panda: Images of China in American Film (Honolulu: University of Hawaii Press, 2014), China Review International 22. 2 (2017): 115-120.

Review of John Berra and Wei Ju, eds. World Film Locations: Shanghai (Bristol: Intellect Books, 2014), China Review International 21. 2 (2014): 107-110.

“Cross-national and Gendered Perspectives: The Cinematic Construction of Intellectual Melodrama in The Second Handshake.” In National, Transnational, and International: Chinese Cinema and Asian Cinema in the Context of Globalization. The Centennial Celebration of Chinese Cinema and Annual Conference of ACSS (May 2005): 357-360.

Translation of Ping Jie. “Introduction: Contemporary Ink Art Evolution.”(from Chinese to English). In Shuimo yanyi [Contemporary Ink Art Evolution], edited by Ping Jie, 13-19. Beijing: The Art State Press, 2009.

Translation of Zheng Tiantian. “The Tip of the Hostesses’ Iceberg?: On Leave Me Alone by Hu Shu.” (from English to Chinese).  In Lingyan xiangkan: haiwai xuezhe ping dangdai zhongguo jilupian [Reel China: A New Look at Contemporary Chinese Documentary], edited by  Ping Jie, 133 -139. Shanghai: Wenhui Press, 2006.

Work in Progress:
Lost in Translation: Dubbing, Subtitling, and the Voice of Others on Chinese Screen (sole-authored monograph)

“Yesterday Once More: Popular Music, Fanculture, and the Youthful (Re)turn of Chinese Cinema in the Age of New Digital Media”

“From Body Crossing to Border Crossing:  Refiguring Gender, Genre, and (Trans)nationality in Cold-War Chinese Cinema”

Courses Taught:

  • CHT3500:  Chinese Culture
  • CHT3391/ ENG4135, Chinese Film and Media
  • CHT3523/ ENG4135: Hong Kong, Taiwan, and the New Global Cinema
  • CHI4930/REL3938/IDH3931: Buddhism and Film (with Professor Mario Poceski)
  • CHI 3410: Advance Chinese 1
  • CHI 3411: Advance Chinese 2