Jiaying Sim

Dr. Sim Jiaying received her BA and MA degrees in English literature from Nanyang Technological University, Singapore. She went on to earn her Ph.D. in film and television studies from the University of Glasgow, UK.

Her research interests include transnational Chinese cinemas, bodies on screens, and film philosophy. Focusing on different types of body assemblages that are produced with consideration to historicity, modernity, urban spaces, race, class, gender, and sexuality, she is interested in various circuits of transnational sensoria and affects that are deeply embedded within the dynamic movements and processes of capital, labour, socioeconomic markets, and political climates, which are unique to different cinematic industries. She has written on film festival circuits, transnational Chinese cinemas, American independent films, Asian cinemas, Scottish art, curation and exhibition, and Singapore films.

Dr. Sim has previously taught public writing and communications, Singapore cinema and literature, film and literary theory, and science fiction dystopian and utopian films at other tertiary institutions, including Nanyang Technological University, National University of Singapore, and the University of Glasgow, UK.

As an educator, her main teaching philosophy is to inspire students to think critically and independently and to articulate their own ideas effectively through the craft of writing. She understands that the journey of teaching, as with learning, is one that requires continuous reflection and growth.

Education

• Doctor of Philosophy (Ph.D.) The University of Glasgow (2013 — 2018)
• Master’s Degree Nanyang Technological University (2011 — 2013)
• Bachelor’s Degree Nanyang Technological University (2007 — 2011)

Selected Publications:

• Sim, Jiaying. “Embodiment, Curation, Exhibition: Report on Douglas Gordon’s ‘Pretty much every film and video work from about 1992 until now.’” (Television, Video, Installation) Screen Bodies, Vol 1.1 (2015)

• Sim, Jiaying. “The Embodiment of Eros: Making Sense of Wong Kar-wai’s ‘The Hand.’” Transnational Chinese Cinema: Corporeality, Desire, and Ethics. (2015)