Li Daoxin is a professor and Phd supervisor at the School of Arts, Peking University. He is a "Changjiang Scholar" Distinguished Professor appointed by the Ministry of Education (2019). He has previously served as a visiting professor at the University of Tokyo in Japan and has given lectures at over 20 universities in Taiwan, Hong Kong, Macau, South Korea, the United States, Russia, Italy, Brazil, and the United Kingdom. He is an editorial board member of journals such as "Film Art" and "Visual Arts," a reviewer for the Journal of Chinese Cinemas, a consultant for the Journal of Chinese Film Studies, and a collaborative editor for the Routledge Studies of Chinese Cinemas series.
He is a member of the National Academic Degrees Committee for Art Professional Degree Graduate Education, a member of the Advisory Committee of the China Film Museum, a member of the Examination Committee of the National Film Bureau, a director of the China University Film and Television Association, and a director of the China Film Critics Association
He has published nearly 300 academic papers and film culture reviews in important academic journals such as "Literary Studies", "Literary Debates", "Contemporary Literature", "Film Art", "Contemporary Cinema", and "Journal of Beijing Film Academy", as well as major media outlets such as "People's Daily" and "Guangming Daily". He has published 14 academic books and collections of poetry and essays with publishing institutions such as Peking University Press and China Film Press. He has been awarded the title of "Top Ten Teachers" at Peking University and has received the first and second prizes for outstanding achievements in philosophy and social sciences in Beijing. He has been selected for the Ministry of Education's New Century Excellent Talents Program.
Building on the "Three Histories" framework of Chinese film research (critical history, cultural history, and dissemination history) and the "Three Bodies" theory (subjectivity, holistic view, and concretization), Li Daoxin's research focuses on Chinese film history, film theory, and criticism. Through undergraduate courses such as "Chinese Film History" and "Film Theory and Criticism" and postgraduate courses such as "Research Topics in Film History", he aims to reveal the deep mechanisms behind the beauty and charm of Chinese cinema, enhance the subjectivity and confidence of film history research, and further deepen the systematic and innovative research on Chinese cinema. He aims to contribute to the construction of Chinese school film history and criticism.
