For full myResearch publications list, click here.


  • Daniel Black, Olivia Khoo, and Koichi Iwabuchi (eds), Contemporary Culture and Media in Asia, Lanham, MD: Rowman & Littlefield, 2016.
  • Larissa Hjorth and Olivia Khoo (eds), The Routledge Handbook of New Media in Asia, London and New York: Routledge, 2016.
  • Audrey Yue and Olivia Khoo (eds), 2014, Sinophone Cinemas, London: Palgrave Macmillan.
  • Olivia Khoo, Belinda Smaill, and Audrey Yue, 2013, Transnational Australian Cinema: Ethics in the Asian Diasporas, Lanham, MD.: Lexington.
  • Olivia Khoo and Sean Metzger (eds), 2009, Futures of Chinese Cinema: Technologies and Temporalities in Chinese Screen Cultures, Bristol, U.K.: Intellect.
  • Olivia Khoo, 2007, The Chinese Exotic: Modern Diasporic Femininity, Hong Kong: Hong Kong University Press.




  • Khoo, O., 2017, A Post-Apology Carceral Regime: Encountering Refugee Art in Australia, Australian Humanities Review, Issue 61,
  • Khoo, O., 2015, On the Banning of a Film: Tan Pin Pin’s To Singapore, with Love, Senses of Cinema, September 2015,
  • Martin, F., Healy, C., Iwabuchi, K., Khoo, O., Maree, C., Yi, K., and Yue, A., 2015, Australia’s ‘Asian Century’: Time, Space and Public Culture, The Asia Pacific Journal: Japan Focus, 13, Issue 6, No. 1, February 2015,
  • Khoo, O., 2014, The Minor Transnationalism of Queer Asian Cinema: Female Authorship and the Short Film Format, Camera Obscura 85, Vol. 29, No. 1, pp. 32-57.
  • Khoo, O., 2014, Bait 3D and the Singapore-Australia Co-Production Agreement: From Content to Creativity Through Stereoscopic Technology, Transnational Cinemas 5: 1, pp. 1-13.
  • Khoo, O., 2014, Missing Water: Imagination and Empathy in Asian Australian ‘Boat Stories’ on Screen, Continuum 28:5, 2014, pp. 605-615.
  • Khoo, O., 2014, Wong Kawaii: Pop Culture China and the Films of Wong Kar-wai, Journal of Popular Culture 47:4, pp. 727-741.
  • Khoo, O., 2013, Bad Jokes, Bad English, Good Copy: Sukiyaki Western Django, or How the West was Won, Asian Studies Review, vol 37, issue 1, pp. 83-98.
  • Khoo, O., 2011, Australian cinema up in the air: Post-national identities and Peter Duncan’s Unfinished SkyContinuum: Journal of Media and Cultural Studies, vol 25, issue 4, pp. 547-558.
  • Khoo, O., 2011, Chinese media studies from an inter-Asian perspective, Media International Australia , vol 138, pp. 128-136.
  • Khoo, O., 2011, Tokens of exchange, or the cook, the thief, the wife and lover: Marginal Asian characters in 1920s Australian cinema, Screening the Past, vol 30, pp. 1-11.
  • Khoo, O., 2010, Intellectual property and the creative industries in Asia (China and Singapore), Asia Pacific Law Review, vol 18, issue 1, pp. 151-170.
  • Khoo, O., 2010, Regional approaches to trafficking in women in South East Asia: the new role of national human rights institutions and the new ASEAN human rights body, Australian Journal of Human Rights, vol 15, issue 2, pp. 59-82.
  • Khoo, O., 2010, Shrimp Western: unsettling the frontiers of the Asian Australian Western, Amerasia journal, vol 36, issue 2, pp. 77-90.
  • Khoo, O., 2010, Tokyo drifting: Toei Corporations’s The Drifting Avenger and the internationalization of the Australian western, Studies in Australasian Cinema, vol 4, issue 3, pp. 231-241.
  • Khoo, O., 2009, A new call to arms or a new coat of arms? The animal rights and environmentalism debate in Australia, Journal of Animal Law, vol V, pp. 49-70.
  • Khoo, O., 2008, Cinemas of value: multicultural realism in Asian Australian cinema, Studies in Australasian Cinema, vol 2, issue 2, pp. 141-156.
  • Khoo, O., 2008, Introduction: marketing Asian-Australianness, Australian Humanities Review, vol 45, pp. 97-99.
  • Khoo, O., 2008, The ground beneath her feet: fault lines of nation and sensation in Yau Ching’s Ho Yuk: Let’s Love Hong Kong, Glq, vol 14, issue 1, pp. 99-120. (Translated into Spanish by Yoana Castañon Suarez as ‘La tierra bajo sus pies Líneas de Culpa en la  Nación y Sensación, en la película de Ching Yau:Ho Yuk Let’s Love Hong Kong’, published in LeSVoz  la revista de cultura lesbica feminista de Mexico, para todas las mujeres, ed. Mariana Pérez Ocaña, Vol . XIV No.44, Noviembre 2011).
  • Khoo, O., 2006, Telling Stories: The Sacrificial Asian in Australian Cinema, Journal of Intercultural Studies Vol. 27, No. 1-2, February-May, pp. 45-63. (Reprinted in Locating Asian Australian Cultures, ed. Tseen Khoo. London and New York: Routledge, 2007).
  • Khoo, O., 2006, Slang Images: On the ‘Foreignness’ of Contemporary Singaporean Films, Inter-Asia Cultural Studies Vol. 7, No. 1, March, pp. 81-98.
  • Khoo, O., 2002, Whiteness and The Australian Fiancé: Framing the Ornamental Text in Australia, Hecate: An Interdisciplinary Journal of Women’s Liberation, Vol. 27, No. 2, January 2002, pp. 68-85.
  • Khoo, O., 1999, ‘Anagrammatical Translations’: Latex Performance and Asian Femininity Unbounded in Olivier Assayas’s Irma Vep, Continuum: Journal of Media and Cultural Studies 13:3, pp. 383-393.


  • Khoo, O., 2016, Short Circuits of Southeast Asian Cinema: Viddsee and the Project of Online Social Viewing, in Larissa Hjorth and Olivia Khoo, eds., The Routledge Handbook of New Media in Asia. London and New York: Routledge, 2016.
  • Khoo, O., 2015, Hong Kong Cinema’s Exotic Others: Re-Theorising the Hong Kong Body in the Context of Asian Regionalism, in Esther Cheung, Esther Yau, and Gina Marchetti, eds., Blackwell Companion to Hong Kong Cinema. London: Blackwell Publishing: 123-139
  • Khoo, O., 2014, Singapore, Sinophone, Nationalism: Sounds of Language in the Films of Tan Pin Pin, in Sinophone Cinemas, ed. Audrey Yue and Olivia Khoo, London: Palgrave Macmillan: 77-100.
  • Khoo, O., 2013, On No Longer Speaking Chinese: Crossover Stardom and the Performance of Accented English, in Crossover Cinema: Cross-cultural Film from Production to Reception, ed Sukhmani Khorana, London and New York: Routledge, pp. 66-82.
  • Khoo, O., 2010, Fifteen Minutes of Fame: Transient/Transnational Female Stardom in Hero, in Global Chinese Cinema: The Culture and Politics of ‘Hero’, eds Gary Rawnsley and Ming-Yeh Rawnsley, London and New York: Routledge, pp. 121-131.
  • Khoo, O., 2009, Remaking the Past, Interrupting the Present: Spaces of Technology and Futurity in Contemporary Chinese Blockbusters, in Futures of Chinese Cinema: Technologies and Temporalities in Chinse Screen Cultures, eds Olivia Khoo and Sean Metzger, . Bristol, U. K.: Intellect, pp. 241-262.
  • Khoo, O., 2007, Asia the Invincible: Discourses of Regionalism in Dong fang bu bai 2: zhi feng yun zai qi (The East is Red) and Wo hu cang long (Crouching Tiger, Hidden Dragon), in How East Asian Films are Reshaping National Identities: Essays on the Cinemas of China, Japan, South Korea and Hong Kong, eds Michael Gibb and David White, New York: Edwin Mellen Press, pp. 221-244.
  • Khoo, O., 2006, Love in Ruins: Spectral Bodies in Wong Kar-wai’s In the Mood for Love in Embodied Modernities: Corporeality, Representation and Chinese Cultures, eds Fran Martin and Larissa Heinrich, eds., Honolulu: University of Hawaii Press, pp. 235-253.
  • Khoo, O, 2003, Sexing the City: Malaysia’s New Cyberlaws and Cyberjaya’s Queer Success in Mobile Cultures: New Media in Queer Asia, eds Chris Berry, Fran Martin and Audrey Yue, Durham and London: Duke University Press, pp. 222-244.
  • Khoo, O., 2000, Folding Chinese Boxes: Asian Exoticism in Australia in Diaspora: Negotiating Asian Australia, eds Helen Gilbert, Tseen Khoo and Jacqueline Lo,St. Lucia: University of Queensland Press, pp. 200-208.


  • Khoo, O. and Yue, A. ed., 2012, “From Diasporic Cinema to Sinophone Cinema”, Special Issue of Journal of Chinese Cinemas 6:1.
  • Khoo, O., ed., 2011, “Regionalising Asian-Australian Identities”, Special Issue of Continuum: Journal of Media and Cultural Studies 25:4.
  • Khoo, O., 2008, “Marketing Asian Australianness”, Australian Humanities Review, Issue 45, November 2008,
  • Khoo, O., Yue, A, and Smaill, B. eds., 2008, “Asian Australian Cinema: Part 1.” Special Issue of Studies in Australasian Cinema on Asian Australian Cinema, Vol. 2, No. 2.
  • Khoo, O., Yue, A. and Smaill, B. eds. 2008, “Asian Australian Cinema: Part 2.” Special Issue of Studies in Australasian Cinema on Asian Australian Cinema, Vol. 2, No. 3.
  • Khoo, O. and Hjorth, L. eds., 2007, “Mobile Media in the Asia Pacific,” Special issue of M/C: Journal of Media and Culture. Issue 7, Vol. 9.
  • Khoo, O., Martin, F., O’Dwyer, C., and Mahoney, B., eds., 1999, “Insights and Outposts,” Special issue of Antithesis on postcolonialism. Vol. 10.



  • Khoo, O., 2014, After this Our Exile, in Directory of World Cinema: China vol.2. Gary Bettinson, ed., Bristol: Intellect, 2014.
  • Khoo, O., 2010, Review of Yomi Braester’s Painting the City Red: Chinese Cinema and the Urban Contract in Media International Australia, No. 137, p. 157.
  • Khoo, O., 2010, Review of Catherine Simpson, Renata Murawska and Anthony Lambert, eds., Diasporas of Australian Cinema in Cultural Studies Review 16:2, pp. 356-361.
  • Khoo, O., 2010, Review of Kent A. Ono and Vincent N. Pham’s Asian Americans and the Media in Continuum: Journal of Media and Cultural Studies 24:4, pp. 640-642.·         
  • Khoo, O., 2009, Review of Darrell William Davis and Emilie Yueh-yu Yeh’s East Asian Screen Industries in Asian Studies Review 33:4, pp. 559-560.
  • Khoo, O., 2008, Review of Rey Chow, Sentimental Fabulations and Zhen Zhang, ed. The Urban Generation, Asian Studies Review 32:1, pp. 127-129.
  • Khoo, O., 2004, ‘The Sacrificial Asian in Australian Cinema.’ Real Time, No. 59, p. 15.
  • Khoo, O., 2004, Review of Laleen Jayamanne, Towards Cinema and its Double: Cross-Cultural Mimesis in Scope: An On-line Journal of Film Studies,
  • Khoo, O., 2004, Review of Queerscreen’ Mardi Gras Film Festival 2004, RealTime, No. 60, pp. 21.
  • Khoo, O., 2004, ‘Res Artis: On the Verge of Elsewhere,’ Real Time, No. 63, October-November.
  • Khoo, O., 2002, Review of David Hanan, ed., Film in Southeast Asia: Views from the Region, Screening the Past, No. 14,
  • Khoo, O., 2000, ‘Seventeen Years (Guo nian Hui jia) by Zhang Yuan,’ Intersections: Gender, History and Culture in the Asian Context, No. 4,
  • Khoo, O., 1998, ‘Lounging with a Big Mac in One Hand and Freud By My Side: Harvey Roy Greenberg’s Screen Memories: Hollywood Cinema on the Psychoanalytic Couch,’ Film-Philosophy: Electronic Salon, 12 July,