Edinburgh University Press, 2021.

Although Chinese film audiences have always maintained a foundational cultural interest in the fantastic, this trend has dramatically increased over the last decade. Sino-Enchantment is the first work in English to approach this recent explosion of fantastic film in Chinese cinemas, where each re-envisioning of the form is determined by cultural, economic, political and technological factors to produce fresh inventions and creative reinventions of familiar narratives, characters and tropes. With case studies of films such as The Assassin (2015), Monster Hunt (2015) and The Great Wall (2016), this novel approach uses the framework of "Sino-enchantment" as a new theoretical lens through which readers can engage with elements of the fantastic in Chinese cinema.

"China's haunted screens boast a rich legacy of uncanny, bizarre, grotesque, horrific, mystical and paranormal tales dating back to the silent era. Emerging from a period in which the supernatural ran afoul of censors in the People's Republic of China, the resurgence of films rooted in 'superstition' merits serious critical attention. This anthology provides penetrating insight into this re-enchantment seen in films by auteurs such as Zhang Yimou (PRC), Hou Hsiao-hsien (Taiwan), and Tsui Hark (Hong Kong) as well as in reimagined classics such as Journey to the West in its multiple manifestations on screen." — Gina Marchetti, University of Hong Kong

Hong Kong University Press, 2015.

Bugis Street was famous (or notorious) for being a haunt of transgender prostitution in the early decades of postcolonial Singapore. Since then the site has been a source of touristic obsession and local cultural anxiety. In his 1995 film Bugis Street, director Yonfan brings the short lane back to vivid cinematic life. By focusing on the film's representations of queer sexualities and transgender experience, this book contends that the under-appreciated Bugis Street is a significant instance of queer transnational cinema. The film's playful yet nuanced articulations of queer embodiment, spatiality, and temporality provide an unexpected intervention in the public discourses on LGBT politics, activism, and cultures in Singapore today. This book's arrival at a much more complicated and contradictory picture of the discursive Bugis Street, through the examination of Yonfan's film and a range of other cultural and literary texts, adds a new critical dimension to the ongoing historical, geographical, sociological, ethnographic, and artistic analyses of this controversial space.

"Grounded in rigorous research that places the film in nuanced historical and cultural contexts, this adventurous study of Bugis Street brings timely attention to an iconic yet persistently under-appreciated film. Superbly written in a clear and personable style, this engaging book will be welcome by scholars and film buffs alike." — Helen Hok-Sze Leung, author of Undercurrents: Queer Culture and Postcolonial Hong Kong and Farewell My Concubine: A Queer Film Classic

Hong Kong University Press, 2009.

The dramatic surge in Chinese visibility in Hollywood has been spurred by Sino-chic talents such as directors Ang Lee, John Woo, Wong Kar-wai, Wayne Wang, and Zhang Yimou, and stars such as Jackie Chan, Jet Li, Chow Yun-fat, Gong Li, Zhang Ziyi, and Michelle Yeoh. Analyzing well-known films by Chinese stars and crew, and the influence they have had on Hollywood directors, Kenneth Chan describes how post-1997 notions of Chinese identity and cultural genres have been reinvented and repackaged by major US studios. Highlighting numerous contradictions and cultural anxieties evident in transnational Hollywood films, Chan suggests that many Chinese stars and directors have made painful compromises to get their films successfully launched into the global capitalist stream of cultural commodities.

"Remade in Hollywood impressively updates the cross-cultural flow of capital, cast, and crew between cinemas to highlight the global Chinese presence in post-1997 American films. Erudite and sophisticated in its analysis, this book is a timely contribution, not only as a study of Chinese cinemas in an era when the People's Republic of China is poised to become the next global superpower, but also as an understanding of Hollywood as a magnet that continues to attract talent from abroad and, in the process, facilitates a global cultural flow that runs in many directions between locales. This accessible volume will be valuable resource for scholars and students in film studies, cultural studies, and Asian-American studies." — Song Hwee Lim, author of Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas

1. Chan, Kenneth. "Maid to Serve: Representations of Female Domestic Workers in Singapore Cinema." Moving Worlds: A Journal of Transcultural Writings 10, no. 1 (2010): 56-70.
2. Chan, Kenneth. "The Shaw-Tarantino Connection: Rolling Thunder Pictures and the Exploitation Aesthetics of Cool." Mediascape: UCLA's Journal of Cinema and Media Studies (Fall 2009).
3. Chan, Kenneth. "Rice Sticking Together: Cultural Nationalist Logic and the Cinematic Representations of Gay Asian-Caucasian Relationships and Desire." Discourse: Journal for Theoretical Studies in Media and Culture 28, no. 2/3 (2006): 178-96. (Copyrighted and published in 2008.)
4. Chan, Kenneth. "Tactics of Tears: Excess/Erasure in the Gay Chinese Melodramas of Fleeing by Night and Lan Yu." Camera Obscura 68, vol. 23, no. 2 (2008): 141-66.
5. Chan, Kenneth. "Gay Sexuality in Singaporean Chinese Popular Culture: Where Have All the Boys Gone?" China Information 22, no. 2 (2008): 305-29.
6. Chan, Kenneth. "Goodbye, Dragon Inn: Tsai Ming-liang's Political Aesthetics of Nostalgia, Place, and Lingering." Journal of Chinese Cinemas 1, no. 2 (2007): 89-103.
7. Chan, Kenneth. “Mimicry as Failure: Jackie Chan in Hollywood.” Asian Cinema 15, no. 2 (2004): 84-97.
8. Chan, Kenneth. “The Global Return of the Wu Xia Pian (Chinese Sword-Fighting Movie): Ang Lee’s Crouching Tiger, Hidden Dragon.” Cinema Journal 43, no.4 (2004): 3-17.
9. Chan, Kenneth. “Cross-Dress for Success: Performing Ivan Heng and Chowee Leow’s An Occasional Orchid and Stella Kon's Emily of Emerald Hill on the Singapore Stage.” Tulsa Studies in Women’s Literature 23, No. 1 (2004): 29-43. (Special issue “Where in the World Is Transnational Feminism?” guest edited by Shirley Geok-lin Lim.)
10. Chan, Kenneth. “The Construction of Black Male Identity in Black Action Films of the Nineties.” Cinema Journal 37, no.2 (1998): 35-48.

• Chan, Kenneth. “The Early Twenty-First-Century Wuxia Revival: Genre Remaking and the Hollywood Transnational Factor.” The Chinese Cinema Book. 2nd edition. Eds. Song Hwee Lim and Julian Ward. London: British Film Institute / Bloomsbury, 2020. 200-210. (Revised and updated. Originally published as: Chan, Kenneth. “The Contemporary Wuxia Revival: Genre Remaking and the Hollywood Transnational Factor.” The Chinese Cinema Book. Eds. Song Hwee Lim and Julian Ward. London: British Film Institute / Palgrave Macmillan, 2011. 150-157.)
• Chan, Kenneth. "'Asia' as Global Hollywood Commodity." American Film History: Selected Readings. Vol. II. Eds. Cynthia Lucia, Roy Grundmann, and Art Simon. Malden, MA: Wiley-Blackwell, 2016. 408-22. (Originally published in The Wiley-Blackwell History of American Film, Vol. IV: 1976 to the Present. Eds. Cynthia Lucia, Roy Grundmann, and Art Simon. Malden, MA: Wiley-Blackwell, 2012. 406-26.)
• Chan, Kenneth. "The Global Return of the Wu Xia Pian (Chinese Sword-Fighting Movie): Ang Lee's Crouching Tiger, Hidden Dragon." Chinese Cinema. Vol. III. Ed. Chris Berry. Critical Concepts in Media and Cultural Studies (Routledge Series). London: Routledge, 2012. (Originally published in Cinema Journal 43, no. 4 (2004): 3-17.)

• Chan, Kenneth. "Racial Phantasmagoria: Asians and Asian Americans in the Era of COVID-19." CEA Critic 82, No. 3 (2020): 208-11.
• Chan, Kenneth. "Bishonen." Directory of World Cinema: China 2. Ed. Gary Bettinson. Bristol, UK: Intellect, 2015. 200-2.
• Chan, Kenneth. "Peony Pavilion." Directory of World Cinema: China 2. Ed. Gary Bettinson. Bristol, UK: Intellect, 2015. 212-14.
• Chan, Kenneth. "Yonfan." Directory of World Cinema: China 2. Ed. Gary Bettinson. Bristol, UK: Intellect, 2015. 113-17.
• Chan, Kenneth. “Queer Identity and Politics.” The Greenwood Encyclopedia of Asian American Literature. Ed. Guiyou Huang. Westport, CT: Greenwood Press, 2009. 811-14.
• Chan, Kenneth. “Singapore Shorts Vol. 2: The Singapore Short Film and Its Emerging Cultural Significance.” Review Essay for the DVD Singapore Shorts Vol. 2 Website (2008).
• Chan, Kenneth. “Drag and the Politics of Identity and Desire in Singapore Theater: A Conversation with Ivan Heng.” Tulsa Studies in Women’s Literature 23, No. 1 (2004): 121-34. (Special issue “Where in the World Is Transnational Feminism?” guest edited by Shirley Geok-lin Lim.)

Interview (hosted by Erik Martin), "Talking Tigers, Dishing Dragons," Cineversary Podcast, CineVerse: Exploring the Universe of Cinema, May 18, 2020. (Celebrating the 20th anniversary of Ang Lee's film Crouching Tiger, Hidden Dragon.)

• 2020-present, Overseas Collaborator, Asian Cinema Research Lab.
• 2015-Dec 2016, Managing Editor, The CEA Critic.
• 2012-2015, Editorial Board Member, The CEA Critic.
• 2006-present, Editorial Board Member, Journal of Chinese Cinemas.
• July 7-9, 2005, Member, International Advisory Committee, “Sexualities, Genders and Rights in Asia: An International Conference of Asian Queer Studies,” in Bangkok, Thailand.
• 2004-present, Member of the International Advisory Board; 2004-2009, Founding Member of the Board of Directors; Asian Film Archive, Singapore.

• January 2012-December 2013, Network Partner, “Chinese Cinemas in the 21st Century: Production, Consumption, Imagination,” The Leverhulme Trust – International Networks Grant, United Kingdom. (The grant paid for travel and accommodation for a series of workshops, conferences, symposia, and research work held in four different locations: Exeter in July 2012, Amsterdam in January 2013, Singapore in June 2013, and Taipei in December 2013.)
• 2010-2011, College Scholar, College of Humanities and Social Sciences, University of Northern Colorado.