School of Cultures, Languages and Area Studies

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Image of Julian Stringer

Julian Stringer

Associate Professor in Film and Television Studies, Faculty of Arts

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Biography

I am currently researching the cultural politics of location filmmaking as well as several projects related to East Asian cinema.

In recent months, I have organized two academic conferences in China: Moving Images and the Digital Eco-City at Shanghai Expo (Oct. 2010) and (with Tsinghua University) International Seminar for Cinema and Television in the 3D Age at the China National Film Museum, Beijing (Jan. 2011).

In South Korea, I was a member of the jury of the 12th Jeonju International Film Festival (April/May 2011), and was invited to present a paper on behalf of the Society for Cinema and Media Studies' Asian Pacific American Caucus at the inaugural Busan Cinema Forum, Busan International Film Festival (October 2011).

I have extensive experience of PhD supervision, and welcome inquiries from prospective students interested in the following areas:

  • Cultural Geographies of Film and Television
  • East Asian Cinema (Chinese, Japanese, Korean)
  • International Film Festivals
  • Transnational Film Cultures
  • Hollywood
  • World Cinema

I am Deputy Director of the Centre for East Asian Cultural Studies, founded in March 2012.

Expertise Summary

  • Regarding Film Festivals (Palgrave Macmillan, forthcoming)
  • The Korean Cinema Book (co-eds, British Film Institute/Palgrave Macmillan, forthcoming)
  • Japanese Cinema: Texts and Contexts (co-eds, Routledge 2007)
  • New Korean Cinema (co-eds, Edinburgh UP 2005)
  • Defining Cult Movies (co-eds, Manchester UP, 2003)
  • Movie Blockbusters (ed., Routledge, 2003)

Research Summary

The cultural politics of location filmmaking.

Several projects related to East Asian cinema.

Recent Publications

  • NIKKI J. Y. LEE, JULIAN STRINGER, 2017. 'China's Sundance' and Corporate Culture: Creating Space for Young Talent at the Tudou Video Festival. In: CHRIS BERRY, LUKE ROBINSON, ed., Chinese Film Festivals: Sites of Translation Palgrave Macmillan. 121-140
  • JULIAN STRINGER, 2017. Location Filmmaking and the Hong Kong Crime Film: Anatomy of a Scene. In: ESTHER YAU, TONY WILLIAMS, ed., Hong Kong Neo-Noir Edinburgh University Press. 159-177
  • NIKKI J. Y. LEE, JULIAN STRINGER, 2017. Snowpiercer: Sound Designable Voices and the South Korean Global Film. In: TOM WHITTAKER, SARAH WRIGHT, ed., Locating the Voice in Film: Critical Approaches and Global Practices Oxford University Press. 263-177
  • JULIAN STRINGER, 2016. Film Festivals in Asia: Notes on History, Geography and Power from a Distance. In: MARIJKE DE VALCK, BRENDAN KREDELL AND SKADI LOIST, ed., Film Festivals: History, Theory, Method, Practice Routledge. 34-48
  • NIKKI J. Y. LEE, JULIAN STRINGER, 2017. 'China's Sundance' and Corporate Culture: Creating Space for Young Talent at the Tudou Video Festival. In: CHRIS BERRY, LUKE ROBINSON, ed., Chinese Film Festivals: Sites of Translation Palgrave Macmillan. 121-140
  • JULIAN STRINGER, 2017. Location Filmmaking and the Hong Kong Crime Film: Anatomy of a Scene. In: ESTHER YAU, TONY WILLIAMS, ed., Hong Kong Neo-Noir Edinburgh University Press. 159-177
  • NIKKI J. Y. LEE, JULIAN STRINGER, 2017. Snowpiercer: Sound Designable Voices and the South Korean Global Film. In: TOM WHITTAKER, SARAH WRIGHT, ed., Locating the Voice in Film: Critical Approaches and Global Practices Oxford University Press. 263-177
  • JULIAN STRINGER, 2016. Film Festivals in Asia: Notes on History, Geography and Power from a Distance. In: MARIJKE DE VALCK, BRENDAN KREDELL AND SKADI LOIST, ed., Film Festivals: History, Theory, Method, Practice Routledge. 34-48
  • JULIAN STRINGER, 2016. Foreword. In: ANDREW DAVID JACKSON, COLETTE BALMAIN, ed., Korean Screen Cultures: Interrogating Cinema, TV, Music and Online Games Peter Lang. xvii-xix
  • JULIAN STRINGER, 2016. Foreword. In: TIAGO DE LUCA, NUNO BARRADAS JORGE, ed., Slow Cinema Edinburgh Univeristy Press. xix-xx
  • JULIAN STRINGER, 2015. Leslie Cheung. In: GARY BETTINSON, ed., Directory of World Cinema: China 2 Intellect. 34-38
  • NIKKI J. Y. LEE, JULIAN STRINGER, ed., 2015. Japanese Cinema: Critical Concepts in Media and Cultural Studies Routledge (4 volumes).
  • JULIAN STRINGER, 2014. Shall We F***?: Notes on Parody in the Pink (reprint). In: ABE MARK NORNES, ed., The Pink Book: The Japanese Eroduction and its Contexts Kinema Club. 217-234
  • JULIAN STRINGER, 2014. The Smiths: Repressed (but Remarkably Dressed) (Spanish-language reprint). In: FRUELA FERNANDEZ, ed., The Smiths: Musica, Politica Y Deseo Errata Naturae. 59-79
  • NIKKI J. Y. LEE AND JULIAN STRINGER, 2013. Film Noir in Asia: Historicizing South Korean Crime Thrillers. In: ANDREW SPICER AND HELEN HANSON, ed., Companion to Film Noir Blackwell. 479-495
  • JULIAN STRINGER, 2013. Foreword. In: ALISON PEIRSE, DANIEL MARTIN, ed., Korean Horror Cinema Edinburgh University Press. viii-x
  • JULIAN STRINGER, 2013. Regarding Film Festivals: Introduction. In: DINA IORDANOVA, ed., The Film Festival Reader St Andrews Film Studies. 59-68
  • MARK GALLAGHER, JULIAN STRINGER, 2013. Reshaping Contemporary Chinese Film Sound: Dolby Laboratories and Changing Industrial Practices Journal of Chinese Cinemas. 7(3), 263-276
  • LEE, N.J.Y. and STRINGER, J., 2012. Ports of Entry: mapping Chinese cinema's multiple trajectories at International Film Festivals. In: ZHANG, Y., ed., A Companion to Chinese Cinema Wiley-Blackwell. 239-261
  • NIKKI J. Y. LEE AND JULIAN STRINGER, 2012. Remake, Repeat, Revive: Kim Ki-young's 'The Housemaid' Trilogies. In: CLAIRE PERKINS AND CONSTANTINE VEREVIS, ed., Film Trilogies: New Critical Approaches Palgrave. 145-163
  • STRINGER, J., 2012. Understanding the role of the South Korean cinema industry's 'Dolby consultants' Transnational Cinemas. 3(1), 41-52
  • NIKKI J. Y. LEE AND JULIAN STRINGER, 2012. Counter-Programming and the Udine Far East Film Festival Screen. 53(3), 301-309
  • JULIAN STRINGER, 2011. Japan 1951-1970: National Cinema as Cultural Currency (reprint). In: DINA IORDANOVA AND RUBY CHEUNG, ed., Film Festival Yearbook 3: Film Festivals and East Asia St Andrews Film Studies. 62-80
  • NIKKI J. Y. LEE AND JULIAN STRINGER, 2011. East Asian Cinema 2010: General Tendencies, Industrial Developments, Key Films. French translation Asie 2011-2012: Catastrophes naturelles, dynamisme socio-economique et questionnements politiques. 2011, 111-126
  • JULIAN STRINGER, 2011. Exploring Contemporary Korean Cinema Soundtracks. In: PARK SUN YOUNG, ed., Seeking the Path of Asian Cinema: East Asia Busan Cinema Forum: Busan International Film Festival. 422-439 (Bilingual, Korean/English)
  • STRINGER, J., 2010. Leslie Cheung: star as autosexual. In: FARQUHAR, M. and ZHANG, Y., eds., Chinese Film Stars Routledge. 207-224
  • STRINGER, J., 2010. 'So Much to Answer For': What do The Smiths Mean to Manchester?. In: CAMPBELL, S. and COULTER, C., eds., Why pamper life's complexities?: essays on the Smiths Manchester University Press. 205-224
  • JULIAN STRINGER, 2010. 'Foreword' (to Chinese translation of Richard Dyer's 'Stars'). Chinese translation.. In: 'Stars' by Richard Dyer Peking University Press. 1-7
  • NIKKI J. Y. LEE AND JULIAN STRINGER, 2010. Korean Blockbusters: Yesterday, Today and Tomorrow. (Italian translation) Cinergie: Il Cinema e le Altre Arti. 20, 25-27
  • NIKKI J. Y. LEE AND JULIAN STRINGER, 2010. Korean Blockbusters: Yesterday, Today and Tomorrow (reprint). In: DANIEL MARTIN AND MARK MORRIS, ed., Discovering Korean Cinema Korean Cultural Centre UK. 57-69
  • STRINGER, J., 2009. The Gathering Place: 'Lost' in Oahu. In: PEARSON, R., ed., Reading 'Lost': perspectives on a hit television show I. B. Tauris. 73-93
  • PHILLIPS, A. and STRINGER, J.E., eds., 2007. Japanese Cinema: texts and contexts London: Routledge.
  • STRINGER, J AND SHIN, C-Y, 2007. Storming the Big Screen: The 'Shiri' Syndrome. In: FRANCES GATEWARD, ed., Seoul Searching: Culture and Identity in Contemporary Korean Cinema New York: State University of New York Press. (In Press.)
  • STRINGER, J, 2007. Cultural Identity and Diaspora in Contemporary Hong Kong Cinema (reprint). In: CODELL, JULIE F., ed., Genre, Gender, Race, and World Cinema: An Anthology London: Blackwell. 424-438 (In Press.)
  • STRINGER, J, AND PHILLIPS, A, 2007. Contemporary Japanese Cinema. In: PAM COOK, ed., The Cinema Book 3rd. London: British Film Institute. (In Press.)
  • STRINGER, J AND YU, Q, 2007. 'Hero': How Chinese Is It?. In: COOKE, P, ed., World Cinema's Dialogues With Hollywood London: Palgrave Macmillan. 238-254 (In Press.)
  • SHIN, C-Y. and STRINGER, J.E., eds., 2005. New Korean cinema Edinburgh: Edinburgh University Press.
  • STRINGER, J.E., 2005. Boat People: Second Thoughts on Text and Context. In: Chinese Film in Focus: 25 New Takes London, British Film Institute.
  • STRINGER, J, 2004. Your Tender Smiles Give Me Strength: Paradigms of Masculinity in John Woo's 'A Better Tomorrow' and 'The Killer' (reprint). In: CHEUNG ESTHER M. K, AND CHU, YIU-WAI, ed., Between Home and Wold: A Reader in Hong Kong Cinema Hong Kong: Oxford University Press. 437-458 (In Press.)
  • STRINGER, J.E., ed., 2003. Movie Blockbusters London: Routledge.
  • STRINGER, J.E., 2003. Talking about Jet Li: Transnational Chinese movie stardom and Asian American internet reception. In: RAWNSLEY, G.D. and RAWNSLEY, M.T., eds., Political communications in Greater China: The Construction and reflection of identity London: Routledge. 275-290
  • STRINGER, J.E., ed., 2003. Defining Cult Movies: The Cultural Politics of Oppositional Taste Manchester University Press, Manchester, UK.
  • STRINGER, J.E., 2003. Raiding the Archive: Film Festivals and the Revival of Classic Hollywood. In: Memory and Popular Film Manchester, Manchester University Press.
  • STRINGER, J.E., 2003. Neither One Thing Nor the Other: Blockbusters at Film Festivals. In: Movie Blockbusters London and New York, Routledge.
  • STRINGER, J.E., 2003. Scrambling Hollywood: Asian Stars/Asian American Star Cultures. In: Contemporary Hollywood Stardom London, UK, Hodder Arnold.
  • STRINGER, J.E., 2002. Tsui Harkin. In: Fifty Contemporary Filmmakers London and New York, Routledge.
  • STRINGER, J.E., 2002. Wong Kar Wai. In: Fifty Contemporary Filmmakers Routledge, London and New York.
  • STRINGER, J.E., 2002. Shall we F***: Notes on Parody in the Pink Scope.
  • STRINGER, J.E., 2002. Japan 1951-1970: National Cinema as Cultural Currency Tamkang Review. VOL 33(PART 2), 31-54
  • STRINGER, J.E., 2002. Global Cities and the International Film Festival Economy. In: Cinema and the City: Film and Urban Societies in a Global Context Blackwell Publishing, Oxford, New York.
  • STRINGER, J.E., 2002. Sopyonje and the Inner Domain of National Culture. In: Im Kwon Taek: The Making of a Korean National Cinema Wayne State University Press, Detroit.
  • STRINGER, J.E., 2000. Cultural Identity and Diaspora in Contemporary Hong Kong Cinema. In: HAMAMOTO, D. Y. & LIU, S., ed., Countervisions: Asian American Film Criticism Philadelphia, PA, US, Temple University Press. 298-314
  • STRINGER, J.E., 1999. In: SANDLER, K.S. & STUDLAR, G., ed., Titanic: Anatomy of a Blockbuster New Brunswick, NJ, US, Rutgers University Press. 205-219
  • STRINGER, J.E., 1997. Screen. 38(1), 25-41
  • STRINGER, J.E., 1997. Exposing Intimacy in Russ Meyer's Motorpsycho! and Faster Pussycat! Kill! Kill!. In: The Road Movie Book Routledge, London and New York. 165-78

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