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  Book Reviews


  • “Sino-Japanese Connections in Independent Film Cultures (1989-2020)”, Chinese Independent Cinema Observer 华语独立影像观察. Edited by R. Ma and T. Akiyama. For more, refer to the open access journal HERE

  • 2021. In/visibility in post-war Okinawan Images Issue 1 Issue 2, Journal of Japanese and Korean Cinema (Co-edited with Kosuke Fujiki)


  • (forthcoming) “Toward Archiveology—Regarding Nguyen Trinh Thi’s Essay Films”, in the (Im)Possibility of Art Archives: Theory and Experience in/from Asia, ed. by Lu Pan, Shanghai: Shanghai Social Academy Press

  • Ran Ma. 2021. How to Remember 3.11? — Post-Fukushima Documentary and the Politics of Tōhoku Documentary Trilogy (2011-2013), in Coates, J. and Ben-Ari, A. (eds) Japanese Visual Media: Politicizing the Screen, Routledge. Pp.136-157

  • Ran Ma. 2020. “Eigasai Inside Out: Programming Japanese Cinema at Overseas and Japanese Film Festivals Today”, The Japanese Cinema Book, Edited by Fujiki Hideaki & Philip Alastair, British Film Institute, Pp164-178

  • 馬然.2019.“記憶と身体を乗り越えるーー東北ドキュメンタリー三部作とポスト・福島ドキュメンタリー”<ポスト3.11〉メディア言説再考. ミツヨ・ワダ・マルシアーノ編集;法政大学出版局,pp283-302  (translated into Japanese by Natori Masakazu)

  • “Contesting the National, Labelling the Renaissance: Exhibiting Taiwan Cinema at Film Festivals in Japan since the 1980s”, Taiwan Cinema, International Reception and Social Change, Edited by Ming-yeh Rawnsley, Kuei-fen Chiu & Gary Rawnsley, Routledge, 2017

  • “Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival”, Chinese Film Festivals: Sites of Translation, Edited by Chris Berry and Luke Robinson, Palgrave McMillian, 2017

  • co-authored with Cindy H.Y. Wong, “Spectacles, Showcases, Marketplaces (And Even Public Spheres): Chinese Film Festivals As Cultural Industries”, “Chinese Film Festivals and Cultural Industries”, Handbook of Cultural and Creative Industries in China, Edited by Michael Keane, Edward Elgar Publishing Ltd, May 2016, p484-505

  • “Regarding the Grassroots Chinese Independent Film Festivals: Modes of Multiplicity and Abnormal Film Networking”, China’s IGeneration: Cinema and Moving Image Culture for the Twenty-first Century, edited by Matthew D. Johnson, Yu Tianqi, Luke Vulpiani & Keith Wagner, Bloomsbury Academic, 2014, p 235-254

  • “獨立兩生花:國際電影節視野中的香港與中國大陸獨立電影” (Independently Different: To Examine Hong Kong and Mainland Chinese Independent Filmmaking through The Critical Lens of International Film Festival Circuit),尋找香港電影的獨立景觀(In Pursuit of Independent Visions in Hong Kong Cinema), edited by Esther MK Cheung, Joint Publishing, Hong Kong, October, 2010, p300-312

  • “Rethinking Festival Film: Urban Generation Chinese Cinema on the Film Festival Circuit”, edited by Dina Iordanova with Ragan Rhyne, Film Festival Yearbook 1: The Festival Circuit, St Andrews Film Studies, the University of St Andrews, St Andrews, 2009, p116-135


  • CHECK OUT A FUN ROUNDTABLE DISCUSSION HERE: 2022. Liuying Cao, Lin Che, Timmy Chih-Ting Chen, Xiaoran Chen, Belinda Qian He, Zoe Meng Jiang, Ran Ma, Hancheng Shen & Jin Zhao (2022): A scholarly roundtable with Deep Focus and DIRECTUBE, Journal of Chinese Cinemas, DOI:  10.1080/17508061.2021.2002614

  • “Soyoung Kim’s Exile Trilogy – Retro toward an Affective Archive”, philoSOPHIA: a Journal of TransContinental Feminism. Vol. 11. (12/2021), 145-153

  • 2021. “To Think Like an Archipelago”—Regarding the Japanese-Chinese Independent Film Culture Connections (1989-2020)导言:“像群岛那样思考”——有关当代日本-中国独立电影文化的关联(1989-2020), in Independent Chinese Cinema Observer /华语独立影像观察, Issue 1.

  • Ran Ma & Kosuke Fujiki. 2021. “In/visibility in post-war Okinawan images 1”, Journal of Japanese and Korean Cinema, 13:1, 1-3, DOI: 10.1080/17564905.2021.1930474

  • Ran Ma. 2021. “Reminiscences of a journey to Okinawa: landscape film as essay, and Takamine Gō’s Okinawan Dream Show (1974)”, Journal of Japanese and Korean Cinema, 13:1, 4-21, DOI: 10.1080/17564905.2021.1914887

  • 馬然.2019.“故鄉的風景:高嶺剛的沖繩夢幻秀”, in ‘Literature as Shadow Metaphor/藝術作為影喻’, Issue No. 78. ACT: Art Critique of Taiwan/藝術觀點: 82-91

  • Ran Ma. 2018. “A Landscape Over There: Rethinking Translocality in Zhang Lu’s Border Crossing Films.” Verge: Studies in Global Asias, Vol. 4 Issue 1: 111-132.

  • Ran Ma. 2018. “Asian Documentary Connections, Scale-making, and the Yamagata International Documentary Film Festival (YIDFF).” Transnational Cinemas, Volume 9, No.2 pp. 164-180.

  • 馬然. 2017. “論・談之‘那邊的風景’:以朝鮮族導演張律的‘越境三部作’為中心 ”.《戲劇與影視評論》,第6期,總第21期.80-87.

  • 馬然. 2017. “徹悟‘映畫祭’:論當代日本國內外電影節中的日本電影策展”, 《戲劇與影視評論》,第3期,總第18期. 21-31.

  • 馬然. 2017. “論・談:歸去歸來不得,華裔導演趙徳胤及其越境電影”. 《戲劇與影視評論》,第4期,總第13期.66-72.

  • 馬然. 2016. “概览1989年以来亚洲的国际纪录片电影节:有关微观历史及其跨国关联”. 第1期,总第10期.54-62.

  • Ran Ma. 2016. “A Genealogy of film festivals in the People’s Republic of China: ‘Film Weeks’ during the ‘Seventeen Years’(1949-1966)”, New Review of Film and Television Studies,March (volume 14, number 1) 40-58

  • Ran Ma. 2013. “Departing from Songzhuang: Interviews with Chinese Independent Documentary Filmmakers Feng Yan & Wang Wo”, Asian Cinema, Issue 24.1, 105-123

  • Ran Ma. 2012. “Disremembering Shanghai, Celebrating the International: The Curious Case of Shanghai International Film Festival”, Culture Unbound: Journal Of Current Cultural Research, Shanghai Special Issue, edited by Justin O’Connor and Xin Gu, Volume 4, Article 8, 147-168.

  • 馬然. 2010. “國際電影節視野中的香港獨立電影”(Regarding Hong Kong Independent Filmmaking On The Global Film Festival Circuit ) , 《藝術評論》 (Art Criticism), Vol 4.中國藝術研究院(China Art Academy), 38-45.

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