朝向多重寫實性：論林龍吟《蚵豐村》中臺灣新電影寫實主義美學的承繼與轉化 Toward Multiple Forms of Realisticity Continuing and Altering the Realist Aesthetics of the Taiwan New Cinema in Lim Lung-yin’s Ohong Village
賈樟柯與林強的電影音樂：《世界》與《三峽好人》的現場詩學 Lim Giong’s Film Music in the Cinema of Jia Zhangke The Xianchang Poetics in The World and Still Life
來不及問電影的，就問錄像藝術吧！臺灣跨域影史編撰學芻議 Too Late to Ask Cinema? Let’s Ask Video Art Instead! A Preliminary Discussion of the Taiwanese Historiography of Cross-Disciplinary Images
晚期風格的逆滲透：林松輝《台灣電影軟實力：作者身份、跨國屬性、歷史編撰學》書評 Taiwan Cinema as Soft Power: Authorship, Transnationality, Historiog-raphy By Song H. Lim. New York: Oxford UP, 2022. 256 pages.
後殖民對抗的聲音：邊境書寫／邊境藝術中的混雜性與多媒介 Voicing Postcolonial Contestation Hybridity and Multimedia in Border Writing/Border Art
沙特〈牆〉於戰爭處境下的創作及其在東亞的翻譯與流傳（1937-1969） Jean-Paul Sartre’s Writing of“The Wall”and Its Translation and Reception in East Asia in Wartime Context (1937-1969)
