Book
Made in Censorship: The Tiananmen Movement in Chinese Literature and Film (Columbia University Press, 2022)
Articles
“Remade in China: Rule of Law, Democracy, and the Chinese 12 Angry Men,” positions: asia critique 30.1 (2022), 137-158.
“Surrogate Infrastructure: The Noncommercial Circulation of Chinese Films in the Early Cold War,” Comparative Literature Studies 57.3 (2020), 398-407.
“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).
“Ridiculing the Golden Age: Subversive Undertones in Yan Lianke’s Happy,” Chinese Literature Today (Winter-Spring 2011), 66-72.
Book Chapters
“Cuicui’s Blush, Tianbao’s Corpse: Rereading Shen Congwen’s Border Town, Again.” In Культура в глобальном мире [Culture in the global world], ed. S.V. Ananyeva (Almaty: M. O. Auezov Institute of Literature and Art, 2020), 320-343.
“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.
“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.