Thomas Chen graduated with a B.A. in Comparative Literature and English from Cornell University and with a Ph.D. in Comparative Literature from UCLA. With a focus on modern Chinese literature and cinema, his research interests include world literature/cinema, translation studies, and historiography. His current book project is Made in Censorship: The 1989 Tiananmen Protests in Chinese Literature and Film. In Fall 2020 he will teach CHIN 198/298/FILM 298: Chinese Film in the World and MLL/ASIA 298: Letters from China.
"Remade in China: Rule of Law, Democracy, and the Chinese 12 Angry Men." positions: asia critique, forthcoming.
"Surrogate Infrastructure: The Noncommercial Circulation of Chinese Films in the early Cold War." Comparative Literature Studies, forthcoming.
"The Workshop of the World: Censorship and the Internet Novel Such Is This World." In China's Contested Internet, ed. Guobin Yang (Copenhagen: NIAS Press, 2015), 19-43.
"Blanks to be Filled: Public-Making and the Censorship of Jia Pingwa's Decadent Capital," China Perspectives 2015/1, 15-22.
"Remplir les blancs : «Publicité» et censure dans La Capitale déchue de Jia Pingwa," Perspectives chinoises 2015/1, 15-23 (trans. Florent Chevallier).
"有待填充的空格," 《当代作家评论》2016/6, 52-61 (汪宝荣 译).
"An Italian Bicycle in the People's Republic: Minor Transnationalism and the Chinese Translation of Ladri di biciclette/Bicycle Thieves," Journal of Italian Cinema & Media Studies 1.2 (2014), 91-107.
"Une bicyclette italienne en République populaire de Chine : À propos de la version chinoise du Voleur de bicyclette," L’Écran traduit: revue sur la traduction et l'adaptation audiovisuelles no. 4 (automne 2015), 21-41 (trans. Jean-François Cornu).
“The Censorship of Mo Yan's The Garlic Ballads,” in Mo Yan in Context: Nobel Laureate and Global Storyteller, eds. Angelica Duran and Yuhan Huang (West Lafayette, IN: Purdue University Press, 2014), 37-49.
“Ridiculing the Golden Age: Subversive Undertones in Yan Lianke’s Happy,” Chinese Literature Today (Winter-Spring 2011), 66-72.