Dr. Beus' work is situated at the crossroad of cinema & literary studies, and like that of most comparatists, her intellectual identity rests within several disciplines & national literatures. Her fields of research interest include comparative literature, theatre & film studies, cultural studies, and inter-arts studies. Since coming to BYUH, she has been engaged in the following topics: modernity in visual culture, intertextuality and reflexivity in art and literature, cultural/national identity & globalization, and indigenous story-telling, covering Sinophone and Francophone areas studies. Her current research studies indigenous storytelling in Pacific narrative cinemas.
PhD, Comparative Literature, Indiana University
MA, Theatre & Film, Brigham Young University
BA, English, National Chengchi University
Dr. Beus' teaching reflects the interdisciplinary nature of her training that cuts across different cultures, theories, media & genres. Courses she has taught include, Introduction to Film, Post-colonial Literature & Film, Women's Literature & Film, Cultures of Asia, Cultures of Europe, and Chinese language courses. She experiments with methodologies & upholds a Deleuzean open-ended teaching philosophy by encouraging & often requiring students to utilize a number of creative genres & formats in research & writing. Typical student assignments range from curatorial projects, art-making, ethnography, critical journal entries, to videos, creative fiction, & research papers to allow students to explore & examine different narrative voices, forms, & levels of authorial control & authority associated with different media and genres.
- FILM 102: Introduction to Film
- ART/HUM 442: Aesthetics/Philosophy of Art
- ENGL 358R/FILM 365R: Special Studies in World Cinema
- CHIN 311: Advanced Conversation
- HUM 302: Cultures of Asia
“Redemption Songs: Musical Moments in Joseph Gaï Ramaka’s Karmen Geï (2001) and Flora Gomes’s Nha Fala (2002),” in The Sight of Sound: When Music Takes Over in Film, eds. Phil Powrie, Claus Tieber and Anna K. Windisch, Basingstoke, Hampshire: Palgrave Macmillan, forthcoming (2021)
“On Becoming Nora: Transforming the Voice and Place of the Sing-song Girl through Zhou Xuan” in Vamping the Stage: Female Voices of Asian Modernities , eds. Andrew Weintraub and Bart Barendregt, Honolulu: University of Hawaii Press, 2017. Pp. 65-82
“Festivals, Censorship and the Canon: the Makings of Sinophone Cinemas,” in Diasporic Cinemas to Sinophone Cinemas , eds. Audrey Yue, Olivia Khoo and Song Hwee Lim, Basingstoke, Hampshire: Palgrave Macmillan, 2014. Pp. 45-61
“Colonialism, Democracy, and the Politics of Representation in Alain Corneau’s Le prince du Pacifique” in New Zealand, France and the Pacific , eds. Ian Conrich and Dominic Alessio, London: Kakapo Books, 2011. Pp. 91-108
“Self-reflexivity in Play within the Play and Its Cross-genre Manifestation” in The Play within the Play: The Performance of Meta-Theatre and Self-Reflection , eds. Gerhard Fischer and Bernhard Greiner, Amsterdam: Rodopi, 2007. Pp. 15-26
“Oriental’s Orientalism: The Fantastic and Cultural Authenticity,” in Querying the Genealogy: Chinese American Literature and Chinese Language Literature in the United States . Ed. Jennie Wang, Shanghai Translation Publishing House, 2006. pp. 428-438
“The Road to Modernity: Urban and Rural Scenes in Zhang Yimou’s The Story of Qiu Ju, Not One Less, and The Road Home” in Representing the Rural: Space, Place, and Identity in Films about the Land , eds. Catherine Fowler & Gillian Helfield, Detroit: Wayne State UP, 2006. Pp. 276-291
Chapters/Entries in Encyclopedia/Sourcebooks
“Review of Huihui: Navigating Art and Literature in the Pacific ,” edited by Jeffrey Carroll, Brandy Nalani McDougall, Georganne Nordstrom, Journal of New Zealand & Pacific Studies (5.1, 2017): pp. 104-106.