Knowledge, the Market, and Development in, of, and for a Chinese Village: Huangbaiyu

Ecological Crisis and Eco-Villages in China,” Pulse of the Planet Series, Counterpunch 21-23 November 2008 (Weekend Edition).

Ecological citizenship and a plan for sustainable development”, City, 12:2 (Summer 2008), 237 — 244.

Hope and Hazard in Rural China” Far Eastern Economic Review May 2008. 51-55.

“The Work of Development: National Agendas, Local Income and Knotted Knowledge in Huangbaiyu” Anthropology News, 48:9 (December 2007), 60-61.

A Sino-US Sustainability Sham” Far Eastern Economic Review, April 2007, 57-60.

    Reprinted in Australasian Business Intelligence. 10 May 2007.

Development and Design

What’s Next: Shannon May.” 28 December 2006.

How much arable land is there out there?” China’s Environment: What do we know and how do we know it? Berkeley China Initiative. 8 December 2007. (Link to YouTube video of lecture. Talk begins at 1:01:29)

Narratives of an Emerging Life: Music, Film and Contemporary Art in China

“Seeing What Is To Be Forgotten: The Photography, Video, and Performance Art of Han Bing” Yishu, 6:2 (Summer/June 2007), 100-105.

Power and Trauma in Chinese Film: Experiences of Zhang Yuan and the Sixth Generation” Journal for the Psychoanalysis of Culture and Society 8:1 (Spring 2003), 156-160.

        Zhang and his peers in the Sixth Generation continued to make independent films throughout the 1990s despite knowing that such        

        action was explicitly forbidden. Set against the silence and repression of post-Tiananmen China, Zhang’s Beijing Bastards focuses

        on liumang culture, and in particular rock star Cui Jian. In doing so Zhang nearly begs the State to punish him for his impudence.

        Highlighted films: Beijing Bastards, East Palace West Palace

“Beyond the Bronze Age: Chinese Contemporary Art and the International Market,” That’s Shanghai (China Intercontinental Press) October 2002, 30-31.

“Changing States: China’s Sixth Generation Filmmakers,” The Harvard Advocate Summer 2000.

Film for the New Long March: The Search for National Identity in Chinese Cinema, 1984-2000. Magna Cum Laude Thesis. Cambridge, MA: Harvard University, 2000. 141pp.

        The Fifth Generation is not the end of film’s Long March in search of a viable self, but the beginning.  Only eight years after

        Yellow Earth marked the emergence of the Fifth Generation, Beijing Bastards signified the rise the Sixth.  Unlike the Fifth

        Generation, there has been no academic scholarship on this new generation of Chinese cinema, and only scattered

        journalistic coverage.  While the directors of the Fifth Generation are amongst the most popular in China, the directors of the

        Sixth are little known.  Despite their relative obscurity within China, the films of the Sixth Generation are integral to charting

        the direction China’s political vanguard is taking into the next century.   By exploring key films of the Fifth and Sixth

        Generations within the context of art and film in post-1949 China, I hope to ascertain whether these filmmakers can succeed        

        in their project to forge a divergent path toward China’s future.

        Directors featured include: Zhang Yimou, Chen Kaige, Zhang Yuan, Wang Xiaoshuai, Jia Zhangke, Zhang Yang, Ning Dai

“Cui Jian in New York: Fresh Flesh Rock and Roll,” September 1999.

Resurrection: A Peony Blooms in New York,” August 1999.

        Every aspect of the Peony Pavilion that opened on July 7 to a sold-out 965-seat house radiated the labors of love invested in this

         politically and culturally fraught production. Despite an international debacle that sidelined the original 1998 production and the    

        rancorous debates over conflicts between Western and Chinese performance methods, the passion director Chen Shizheng [陈士争]

        instilled in his Peony cannot be doubted, even when ardor blinded better judgement.

“Come the Revolution?: A Look into Contemporary China,” The Harvard Advocate Spring 1999.