B.A., Peking University, Film Production; Philosophy (2012)
M.A., New York University, Cinema Studies (2014)
Entered in CMS, joint PhD program with Department of East Asian Languages and Civilizations.
Animation; global melodrama; opera film; digital graphics; Photoshop studies; theories of temporality; the relation between texture and emotion; the secret symmetry between cinema and calligraphy; the act of walking in cinemas; hieroglyphics; subtitles; Chinese cinemas; Asian cinemas (East Asian cinemas, cinemas in Southeast Asia; cinematic interactions between China and India); minor cinema; the geopolitics of film theory.
Panpan is particularly interested in how cinema foregrounds the meetings or missed encounters between Chinese and Western aesthetics. Along this line, she has been writing on some unique genres in Chinese cinemas, such as ink animation, Teochew opera film, and the Wenyi picture. She sees genre as a framework capable of generating new lines of inquiry especially in the context of cultural flows. Three concepts are central to her theoretical investigation: time, space, and rhythm. At times, she attempts to transplant concepts embedded in Chinese philosophy and traditional Chinese arts (painting, calligraphy, and opera) into the field of cinema and media studies. Currently, she serves as the coordinator of the Mass Culture Workshop for the 2017-18 academic year. Her academic publications and creative projects can be viewed at http://www.yangpanpan.com/