Sheldon Hsiao-peng Lu. Transnational Chinese Cinemas: Identity, Nationhood, Gender

馬健雄（2013）。Haimei Shen, ＂Middle Ground: Gender, Ethnicity and Identity in Southwest China＂。歷史人類學學刊，11(1)，192-197。https://www.airitilibrary.com/Article/Detail?DocID=P20151127001-201304-201511300020-201511300020-192-197
Zhang, Y. J. (1998). Chinese Cinema and Transnational Cultural Politics: Reflections on Film Festivals, Film Productions, and Film Studies. 現代中文文學學報, 2(1), 105-132. https://www.airitilibrary.com/Article/Detail?DocID=10265120-199807-201008040019-201008040019-105-132
王國安（2013）。The Emergence and Transformation of National Identity in the Life and Work of Wu Yong-Fu。明新學報，39(1)，41-57。https://www.airitilibrary.com/Article/Detail?DocID=1728760X-201302-201304240022-201304240022-41-57
Berry, C., & Pang, L. (2010). Remapping Contemporary Chinese Cinema Studies. The China Review An Interdisciplinary Journal on Greater China, 10(2), 89-108. https://www.airitilibrary.com/Article/Detail?DocID=P20181114001-201011-201811200011-201811200011-89-108
林文淇（2000）。Zhou Xiao-Wen's No Regrets about Youth and the National Allegories of Contemporary Chinese Cinema。中外文學，29(2)，217-236。https://doi.org/10.6637/CWLQ.2000.29(2).217-236