Dr Lara Vanderstaay
Chinese Discipline
Casual Academic & Casual Academic
School of Languages and Cultures
Book Chapters
Vanderstaay, Lara (2019). Subverting the ‘good wife and wise mother’: the roles and public persona of Xu Jinglei. Female celebrities in contemporary Chinese society. (pp. 63-82) edited by Shenshen Cai. Singapore: Palgrave Macmillan. doi: 10.1007/978-981-13-5980-4_4
Vanderstaay, Lara (2018). Families, intellectuals, and enemies in the "Red Classic" remake new tunnel warfare. The making and remaking of China's "Red Classics": politics, aesthetics, and mass culture. (pp. 177-187) edited by Rosemary Roberts and Li Li. Hong Kong, Hong Kong: Hong Kong University Press. doi: 10.5790/hongkong/9789888390892.003.0010
Vanderstaay, L. (2006). They're not hidden dragons: Women in the Chinese film industry, 1925-1978. Rhizomes: Connecting Languages, Cultures and Literatures. (pp. 52-64) edited by N. Ramière and R. Varshney. Newcastle, U.K.: Cambridge Scholars Publishing.
Journal Articles
Vanderstaay, L. (2008). Female consciousness in contemporary Chinese women directors' films: A case study of Ma Xiaoying's Gone is the One Who Held Me Dearest in the World. Intersections: Gender, History and Culture in Asia and the Pacific, 16, 1-14.
Vanderstaay, Lara (2004). (Book review) The Emerging Lesbian: Female Same-Sex Desire in Modern China. Asian Studies Review, 28 (2), 190-190. doi: 10.1080/1035782042000226710
Conference Papers
Vanderstaay, L. M. (2005). Femininity in pre-1949 women's films and their links with post-1979 women's films. National, Transnational, International: Chinese Cinema and Asn, Beijing, China, 5-10 June 2005. Beijing, China: Department of Arts Studies, Peking University.
Vanderstaay, L. M. (2004). A case study of the influence of directorial gender on the representation of female sexuality in four contemporary Chinese films. Asia Examined, Canberra, 29 June - 2 July 2004. Canberra: ASAA Asian Study Association of Australia.
Thesis
Lara Vanderstaay (2010). A textual analysis of female consciousness in twenty-first Chinese women directors' films. PhD Thesis, School of Languages and Comp Cultural Studies, The University of Queensland.