K. Rajagopal on making films for and on the ethnic minority in Singapore

Working-class Masculinities in Postsocialist Chinese Television: Mediating (Im)potency and Reproducing Transnational and Localised Inequalities
Ng, H. 2024. Working-class Masculinities in Postsocialist Chinese Television: Mediating (Im)potency and Reproducing Transnational and Localised Inequalities. in: Border Masculinities in Literary and Visual Cultures London Palgrave Macmillan.

Queer Singapore Chinese Theatre: Staging Homosexuality, AIDS and Familial Acceptance
Ng, H. 2024. Queer Singapore Chinese Theatre: Staging Homosexuality, AIDS and Familial Acceptance. in: Queer Literature in the Sinosphere London Bloomsbury Academic. pp. 221-243

Performing Fear in Television Production: Practices of an Illiberal Democracy, by Siao Yuong Fong
Ng, H. 2023. Performing Fear in Television Production: Practices of an Illiberal Democracy, by Siao Yuong Fong. Television & New Media. 25 (4), pp. 405 - 408. https://doi.org/10.1177/15274764231215760

Articulating Silences around Death in Both Sides, Now: Medical Professionals Grappling with Grief
Ng, H. 2022. Articulating Silences around Death in Both Sides, Now: Medical Professionals Grappling with Grief. in: Rajendran, C. and Gough, R. (ed.) Changing Places: Drama Box and the Politics of Space Aberystwyth Performance Research. pp. 164-174

Mainstream Theatre
Ng, H. 2022. Mainstream Theatre. in: Drama Box: 30 Keywords Singapore Drama Box. pp. 48-55

Multilingual
Ng, H. 2022. Multilingual. in: Drama Box: 30 Keywords Singapore Drama Box. pp. 98-105

Dialectics as Creative Process and Decentring China: Zuni Icosahedron and Drama Box’s One Hundred Years of Solitude 10.0: Cultural Revolution
Ng, H. 2021. Dialectics as Creative Process and Decentring China: Zuni Icosahedron and Drama Box’s One Hundred Years of Solitude 10.0: Cultural Revolution. in: Asian City Crossings: Pathways of Performance through Hong Kong and Singapore London Routledge.

Boo Junfeng on funding, festivals and Chinese privilege
Ng, H. 2020. Boo Junfeng on funding, festivals and Chinese privilege. Asian Cinema. 31 (1), pp. 131-137. https://doi.org/10.1386/ac_00018_7

Unpacking the 'Singapore New Wave'
Fong, S.Y. and Ng, H. 2020. Unpacking the 'Singapore New Wave'. Asian Cinema. 31 (1), pp. 3-15. https://doi.org/10.1386/ac_00010_2

Taipei Golden Horse film awards and Singapore cinema: Prestige, privilege and disarticulation
Ng, H. 2020. Taipei Golden Horse film awards and Singapore cinema: Prestige, privilege and disarticulation. Asian Cinema. 31 (1), pp. 99-122. https://doi.org/10.1386/ac_00015_1

Drawing from Grotowski and Beyond: Kuo Pao Kun’s Discourse on Audiences in Singapore in the 1980s
Ng, H. 2020. Drawing from Grotowski and Beyond: Kuo Pao Kun’s Discourse on Audiences in Singapore in the 1980s. Inter-Asia Cultural Studies. 21 (2), pp. 238-250. https://doi.org/10.1080/14649373.2020.1759879

The Liminality of Decolonization, De-Cold War and Deimperialization: Boal’s Newspaper Theater and East Asian Popular Culture as Method in Drama Box’s Community Commedia Dell’Arte News Busters!
Ng, H.W. 2019. The Liminality of Decolonization, De-Cold War and Deimperialization: Boal’s Newspaper Theater and East Asian Popular Culture as Method in Drama Box’s Community Commedia Dell’Arte News Busters! Router: A Journal of Cultural Studies. (29), pp. 123-160. https://doi.org/10.6752/JCS.201906_(28).0002

Rethinking Censorship in China: The Case of "Snail House (Woju)"
Ng, H. 2015. Rethinking Censorship in China: The Case of "Snail House (Woju)". in: Bai, R. and Song, G. (ed.) Chinese Television in the Twenty–First Century: Entertaining the Nation Routledge. pp. 87-103