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About Prof. YEH Yueh Yu, Emilie

Professor Yeh is a recognized specialist in Chinese and Asian cinema studies. Between 2005 and 2014, she was appointed as Visiting Scholar at Harvard University, Tsinghua University (Taiwan), Academia Sinica and National Taiwan University, and as Visiting Research Fellow at the Carsey-Wolf Center of the University of California, Santa Barbara. She was also the Director of the Centre for Media and Communication Research and Associate Director of David Lam Institute for East-West Studies at Hong Kong Baptist University. 

Professor Yeh holds editorial memberships at several international and regional journals. She served as a panel member in the 2014 Research Assessment Exercise (RAE). She served on the Jury of the Golden Horse Film Awards (Taiwan) twice, the Asian Television Awards (Singapore), the Hong Kong Independent Short Film and Video Awards and the Hong Kong Fresh New Wave Film Competition. She was also a consultant for the Motion Picture Association of America. She won two outstanding scholarly performance awards from the School of Communication at Hong Kong Baptist University, and has been awarded research grants from Hong Kong Research Grants Council, Chiang Ching-kuo Foundation and funding agencies from Australia and the United States. She has published 10 books and over 60 academic articles, some of which have been translated into other languages, including Japanese, Spanish, Hungarian and Chinese. 


Present Dean, Lingnan University Faculty of Arts
Present Director, Lingnan University Centre for Cinema Studies
Present Lam Wong Yiu Wah Chair Professor of Visual Studies, Lingnan University Department of Visual Studies


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Contact Information

Tel: 2616-7472


Books (6)

Edited Books (4)

Journal Articles (46)

身体与声音 : 华语歌舞片中的四种表演女性
艺术评论 = Arts Criticism (2010)
Yueh Yu, Emilie YEH and Hong Feng TANG
思考中国娱乐电影,很难首先想到歌舞片 (musicals) 这一类型,因为在这里,歌舞片的数量相对较少,制片品质较低,而且在当代银幕上基本消失了。歌舞片被边缘化的另一个原因是它总被定义为是一种好莱坞的电影形式,从最开始,华语歌舞片就与西方形式缠绕在一起,因此不能胜任国族电影 (national cinema) 的身份,尽管本土的戏曲和流行歌曲在人们生活中也很重要。这就是说,华语歌舞片存在着一个丰富多样的群体,足以对世界歌舞片类型做出令人瞩目的贡献。更进一步来讲,华语歌舞片之所以独具魅力,正是因为它在本土样式和西方好莱坞及其他样式之间所做出的艺术的转化和提高。 从第一部有声电影《歌女红牡丹》(导演张石川,1931) 到充满宝莱坞味道的幻想曲《如果·爱》(导演陈可辛,2005),在过去的70多年中,两岸三地生产了数百部包含歌舞内容的电影。这些歌舞片有的直接仿效好莱坞样板,有的是中国戏曲的华美表演,介于这之间还有各种多面向的混杂品种。因为这种多变性,所以单纯以“歌与舞”来定义华语歌舞片/歌唱片并不确切。因此,作者将以一种更宽泛的含义进行研究,提炼出能够清晰代表潮流倾向和历史发展的典型角色。本文探讨四种表演女性:歌女 (singsong girl)、曼波女郎(mambo girl)、戏曲女伶 (opera girl) 和阿哥哥女郎 (go-go girl)。这种研究方法提供了华语歌舞片历史发展的鲜明的影像、叙事和声音。