Yazar: Anna Stecher

Jin Haina is a professor of translation, film and communication studies at the Communication University of China. Her research interests include audiovisual translation, translation history, film history, and translated cinema. She has published a monograph entitled  Towards a History of Translating Chinese Silent Films (1905–1949) and is now working on a sequel, which will cover the 110-year history of translating Chinese films into foreign languages. She has guested a special issue on the translation and dissemination of Chinese cinemas for Journal of Chinese Cinemas (Routledge). She is the editor in chief of Journal of Chinese Film Studies (De Grutyer, to be launched in 2021) and an editor for Cogent Arts and Humanities (Routledge) and on the scientific board of Journal of Audiovisual Translation. She is also the translator of Film and Television Culture in China (Paths, 2018) and General History of Chinese Film (Routledge, Forthcoming). Anna Stecher is a lecturer in Sinology at Ludwig-Maximilians-University in Munich, Germany. She works on contemporary Chinese literature and theatre, focusing especially on questions of representation, adaptation and dramaturgy. Her publications include a book-length study on Lin Zhaohua, China’s most important theatre director of the last decades, Im Dialog mit dem chinesischen Schauspieljahrhundert: Studien zum Theater von Lin Zhaohua (2014) as well as an edited volume with six contemporary Chinese dramas in German translation Chinas Schauspiel: Nah am Nerv. Sechs Stückübersetzungen (Gissenwehrer, Stecher 2018). Rebecca Ehrenwirth is a professor of translation at the International University of Applied Sciences/SDI Munich. Her research interests include Sinophone studies with a special focus on contemporary literature, art and film as well as postcolonial studies. She is the editor of the monograph Zeitgenoessische sinophone Literatur in Thailand (Harrassowitz, 2018) and the co-editor of a biography on Jane Austen, By a Lady: Das Leben der Jane Austen (Lambert Schneider, 2017).