On “Snake Eaters” by Gina Marchetti



Jericho Li, an MA Communications student at Baptist University, escorts us through Hong Kong’s Sham Shui Po in this cellphone video shot with the assistance of veteran filmmaker Quentin Lee.  What would have been Jericho Li’s group video assignment in Multi-Media Journalism has become a document of the impact of Hong Kong’s 2019 Anti-ELAB protests on herself and the neighborhood of Sham Shui Po.  Although the proposed bill allowing extradition of Hong Kong citizens to mainland China has also been scrapped, protests continue to roil the territory.  Student-led demonstrations on many of Hong Kong’s university campuses came to a climax in mid-November with standoffs with the police at Chinese University, Hong Kong University of Science and Technology, Baptist University and the University of Hong Kong.  Polytechnic University endured a siege that lasted from November 17-29, 2019. 

On November 13, Baptist University suspended face-to-face instruction and moved to online teaching for the remainder of the fall term.  Undaunted, Jericho, with the help of director Quentin Lee, continues with her video portrait of Sham Shui Po sans her group members.  In the process, the short film metamorphoses from a class project to dual portrait of a female media student and a grassroots district in turbulent times.  Sham Shuii Po is one of the poorer districts in Hong Kong known for its population of mainland Chinese working-class migrants, elderly residents, and the desperately poor “cage” dwellers who live in notoriously cramped subdivided flats.  However, like other traditional neighborhoods in Hong Kong, it also can be considered a “shopping paradise” for electronic goods, computer equipment, secondhand gadgets and inexpensive street food. 

While the divide between the privileged graduate student and the working poor of Sham Shui Po would seem to be unbridgeable, Snake Eaters goes beyond the town/gown, young/old, poor/privileged divide to uncover the range of sentiments that unite and divide the neighborhood.  The politically “blue,” generally supportive of the current government, closer ties to the People’s Republic of China, and strong police enforcement of public order, and “yellow,” representing the protesters whose “five demands” call for the resignation of the current Chief Executive, an independent inquiry into police misconduct, elimination of the term “rioter” to criminalize demonstrators, amnesty for those arrested during the protests, and the resumption of the legislative process that would eventually lead to direct election of the Chief Executive and all members of the Legislative Council, can both be found in Sham Shui Po.   The district has seen its share of violence during the current protests.  For example, on October 10, 2019, there was an incident involving the beating of a taxi driver after his vehicle drove into a crowd injuring a woman.  Although Sham Shui Po exhibited an even split between yellow and blue district councilors before the November 24, 2019, elections, a landslide victory for the pro-democracy camp saw the yellow-sympathizers take 22 of the 25 seats. The Hong Kong Association for Democracy and People’s Livelihood (ADPL), part of the pan-democratic opposition, took the most posts.  Snake Eaters gives us a sense of the political tenor of the neighborhood and a deep appreciation of the anxieties and precarious economic circumstances of its residents.  However, it also provides insight into their unique ability to persevere in the face of difficulties and maintain their cultural identity and integrity.

In the first few moments of the video, we glimpse Jericho adjusting her camera and walking through the lively but impoverished neighborhood.  Quentin Lee (producer, director, cinematographer, and editor) and Jericho Li (co-producer and presenter) interview a cross-section of the district’s residents, including many senior citizens, artisans, and small-business owners.  While some of the district’s elderly residents are illiterate, there is no dearth of talent in the neighborhood.  One vendor, Mr. Hung, who has a background in electrical engineering and radio communications, specializes in used stereo equipment (reminiscent of the shop in which the cop and crook moles played by Tony Leung and Andy Lau encounter each other in Infernal Affairs).  At first Jericho does not seem to process the fact that the elderly man lives in Shenzhen and asks if he plans to move to China.  Puzzled he reminds her that he, indeed, lives across the border in Shenzhen and commutes on a discounted senior citizen train ticket to Sham Shui Po to do business.  The porousness of the border makes life considerably easier for the elderly who can enjoy a higher standard of living in the PRC. 

Jericho moves on to interview Mr. Look, over eighty years old, who runs a clock repair store with a fifty-year history.  He shares his plans to close down his shop and complains about protesters interfering with public transportation and destroying street lights.  Indeed, demonstrators target Hong Kong’s MTR mass transit because of their belief the company allows police to control the system in order to make arrests—citing an incident that some feel led to fatalities at Prince Edward MTR station on August 31, 2019.  Some members of the movement also target “smart” lamp posts they believe are used for surveillance.  Elderly and disabled people, who rely on the MTR and adequate lighting to get around the city, have been hit hard by this aspect of the protests.  Also, as Mr. Look points out, the deleterious impact on Hong Kong’s commercial sector has been significant.  A young man running one of Sham Shui Po’s ubiquitous electronic shops concurs that the MTR vandalism and boycotts have had a negative impact on his business, but he feels the inconvenience can be tolerated in support of the cause.

Snake Eaters also shows the support the movement enjoys from other local entrepreneurs.  One café, for example, displays Pepe the Frog to signal its “yellow” political sympathies.  In fact, viewers in the United States may be dismayed to find Pepe used as a mascot by protesters in Hong Kong.  Although linked to Donald Trump and the alt-right since 2016, Pepe predates these associations and Hong Kong’s youthful protesters seem largely unaware of the cartoon character’s racist overtones.  (For more background on Pepe, see this short video produced by Bloomberg–https://www.bloomberg.com/news/videos/2019-09-17/why-is-pepe-used-in-hong-kong-protests-video).

The video ends with two portraits of traditional artisans based in Sham Shui Po.  The first crafts paper models of everyday objects, including clothing, watches, televisions, telephones, household appliances, automobiles, and even entire houses, to burn during funerals so that the dead can enjoy these objects in the afterlife.  The last vignette profiles Ms. Ling, the proprietress of a restaurant specializing in snake stew.   She reminisces about larger families making the snake meal a multi-generational affair and proudly gives the filmmakers a tour introducing the various snakes and their medicinal properties.  Jericho samples the snake stew and concludes the video by modeling a living specimen as a scarf.

Snake Eaters does a superb job of acknowledging the impact of the current political turmoil in Hong Kong on the territory’s grassroots population.  More than a touristic presentation of what may appear to be Hong Kong’s old-fashioned and “exotic” culture, funerary rituals, and cuisine, Snake Eaters takes a careful look at Hong Kong citizens, their cross-border lives, and their economic concerns.  Jericho Li does this at a time when other student journalists from Baptist University literally risk their lives to bring news of the ongoing protest to the public.  To cite one example, on December 15, 2019, an undergraduate student reporter from Baptist University Students’ Union Editorial Board sustained a serious eye injury from a tear gas canister while covering the demonstrations.  Jericho Li shows us another side of the story and its impact across generations, gender, class, occupation and status in the HKSAR.

Snake Eaters does a superb job of acknowledging the impact of the current political turmoil in Hong Kong on the territory’s grassroots population.  More than a touristic presentation of what may appear to be Hong Kong’s old-fashioned and “exotic” culture, funerary rituals, and cuisine, Snake Eaters takes a careful look at Hong Kong citizens, their cross-border lives, and their economic concerns.  Jericho Li does this at a time when other student journalists from Baptist University literally risk their lives to bring news of the ongoing protest to the public.  To cite one example, on December 15, 2019, an undergraduate student reporter from Baptist University Students’ Union Editorial Board sustained a serious eye injury from a tear gas canister while covering the demonstrations.  Jericho Li shows us another side of the story and its impact across generations, gender, class, occupation and status in the HKSAR.

Snake Eaters does a superb job of acknowledging the impact of the current political turmoil in Hong Kong on the territory’s grassroots population.  More than a touristic presentation of what may appear to be Hong Kong’s old-fashioned and “exotic” culture, funerary rituals, and cuisine, Snake Eaters takes a careful look at Hong Kong citizens, their cross-border lives, and their economic concerns.  Jericho Li does this at a time when other student journalists from Baptist University literally risk their lives to bring news of the ongoing protest to the public.  To cite one example, on December 15, 2019, an undergraduate student reporter from Baptist University Students’ Union Editorial Board sustained a serious eye injury from a tear gas canister while covering the demonstrations.  Jericho Li shows us another side of the story and its impact across generations, gender, class, occupation and status in the HKSAR.

About the author:

Gina Marchetti’s books include Romance and the “Yellow Peril”: Race, Sex and Discursive Strategies in Hollywood Fiction (California, 1993),From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens (Temple, 2006),Andrew Lau and Alan Mak’s INFERNAL AFFAIRS—The Trilogy (Hong Kong: Hong, 2007),The Chinese Diaspora on American Screens: Race, Sex, and Cinema (Temple, 2012),and Citing China: Politics, Postmodernism, and World Cinema (Hawaiʻi, 2018).



Hong Kong films in International Film Festival Rotterdam (IFFR)

This year’s International Film Festival Rotterdam (IFFR) is dedicating a programme in its “Perspectives” section to Hong Kong films by both established and upcoming filmmakers that examine the political, social and economic tensions underlying the city’s current turmoil. Nineteen films are included under the title of “Ordinary Heroes: Made in Hong Kong,” with six directed or co-directed by women filmmakers, including Home, and a Distant Archive (Dorothy Tsz Yan Cheung), If We Burn (James Leong and Lynn Lee), Kin’s Hair (Chang See-Wan and Chan Kwun-Chung), Lost in the Fumes (Nora Lam), Memories to Choke On, Drinks to Wash Them Down (Ming Kai Leung and Kate Reilly), and Ordinary Heroes (Ann Hui).

With nearly 330,000 admissions and over 2,400 film professionals attending, IFFR is one of the largest audience and industry-driven film festivals in the world. The 49th edition of IFFR will take place from January 22 to February 2, 2020.

For details, please visit: https://iffr.com/en/programme/2020/a-z?section[82509]=82509

Jenny Suen on The White Girl: An Interview

One of Hong Kong’s most talented and esteemed cinematographers (Christoper Doyle) paired up with his trusted producer (Jenny Suen), as a team they wrote and directed The White Girl, one of the finer films to have come out of Hong Kong in years. Hong Kong isn’t really overflowing with female indie directors, so I couldn’t pass on the chance to ask director Jenny Suen some questions about her first feature film directly. If you’re still on the fence about watching The White Girl, do read on and let yourself be convinced.

Niels Matthijs: The White Girl is a film that works on multiple levels. There’s the plot and the characters on the one hand, the Hong Kong allegory on the other. Was it conceived that way from the start, or did it grow into that during production? Also, are both layers equally important to you, or was one written in function of the other?

Jenny Suen: To an audience a film is only what they see on the screen. To a filmmaker a film is a life. The choices are a reflection of how we live: location, language, budget… and most importantly, the people you choose to share that with. I started to work on it back in 2013 after I moved back to Hong Kong. So the film is a result of me trying to understand this place and what this “home” means to me after years of living abroad. Hong Kong is disappearing. Our way of life is under threat. What is the point of giving a story as grand of a stage as a silver screen if we don’t have the courage to tell the grandest story of our times?

To read the full interview, please visit https://www.onderhond.com/blog/white-girl-interview-jenny-suen

Call For Papers – Decolonising Film and Screen Studies

Call For Papers

Decolonising Film and Screen Studies

A Screen Worlds Open Access edited volume

“… you cannot mobilize a movement that is only and always against; you must have a positive alternative, a vision of a better future that can motivate people to sacrifice their time and energy toward its realization.”

Obioma Nnaemeka, “Nego-feminism: Theorizing, Practicing, and Pruning Africa’s Way”, Signs: Journal of Women in Culture and Society,29.2 (2003), p.364

Inspired by the RhodesMustFall movement at the University of Cape Town in May 2015, certain higher education institutions, individuals and collectives across the world have engaged in renewed, contemporary work to try to decolonise academia over the past four years. These movements are not new, and need to be historicised in relation to the long history of struggles for political decolonisation, complex engagement with the word “decolonisation” itself, and a wealth of significant theorising around decolonising (e.g. wa Thiong’o 1986, Tuhiwai Smith 1999). These contemporary movements are also not uncontested, with some arguing that the term “decolonisation” has provided a useful way of bringing together academics from different disciplines with similar agendas around transformation, and others arguing that the term hides a range of distinct activities and practices, some of which appropriate or exploit the term without real commitment to fostering change.

In this Open Access edited volume which forms part of the “Screen Worlds: Decolonising Film and Screen Studies” project, we seek to put the field of Film and Screen Studies into conversation with these contemporary, cross-disciplinary debates and discussions. Despite the complexities of defining “decolonisation”, particularly in relation to distinct contexts, we feel that this is an urgent conversation for Film and Screen Studies given how Eurocentric the field remains, half a century after its academic formalisation. While an important body of research has been published since the late 1980s on African cinema (e.g. Diawara 1992, Ukadike 1994), Black cinema (e.g. Cham and Andrade-Watkins 1988, hooks 1996), postcolonial cinema and media (e.g. Shohat and Stam 1994), and on de-westernising film studies (e.g. Higbee and Bâ 2012), a large proportion of Film and Screen Studies scholarship continues to ignore continental Africa, much of Asia, research in languages other than English, and questions of diverse cultures and worldviews. For example, Braudy and Cohen’s Film Theory and Criticism (2009), often used as a Film Studies textbook and now in its seventh edition, includes only four entries that deal with critical race theory and/or (post)colonialism (Diawara, Stam and Spence, Yoshimoto, Dissanayake), and these are placed towards the end of the book, suggesting that imperialism, colonialism and racism are an afterthought when it comes to the histories and theories of filmmaking.

As Robert Stam powerfully notes in Film Theory: An Introduction (2000), film’s historical relationship with imperialism, colonialism and racism has been the least studied area in Film and Screen Studies. This is in spite of the fact that the film medium, since its invention in the late 1800s, was powered by White patriarchal privilege and negative representations of dark-skinned peoples. Since racism has been a form of visual supremacy it makes sense to explore its origins, effects, and legacies through a visual medium such as film itself, which was invented during the Scramble for Africa. Film and Screen Studies thus needs to be rethought in relation to imperialism, colonialism, and racism. This volume calls for scholars from all disciplines and in diverse locations around the world to help in this ambitious task of re-envisioning Film and Screen Studies to make the field far more globally representative and inclusive of diverse and dynamic screen cultures and worldviews.

The fact that Film and Screen Studies has had to struggle for recognition as an academic discipline in its own right has led to a versatility and dynamism that we hope means that the field will more easily be able to take inspiration from, and adapt, decolonising debates, methods and theories from other disciplinary fields (e.g. Archaeology, Anthropology, Education Studies, International Relations, Development Studies, Gender Studies, and even Medicine and the Natural Sciences) while shedding light on how films and film theory can also help other academic fields to decolonise. We encourage contributors to read widely across disciplines for inspiration, and we also encourage contributors to foreground their own positionality and lived experience, as well as to reflect on the relationships between their research, pedagogy and/or practice (e.g. hooks 1996, Nnaemeka 2003, Mistry 2017).

Questions that might be explored (although this list is by no means exhaustive) include:

·         What are the possibilities and problems of trying to decolonise Film and Screen Studies?

·         What would a decolonised Film and Screen Studies programme look like? Which films and scholarship should be included, and how? And how might this vary, given that decolonising has different meanings in diverse local, national, regional and continental contexts?

·         How can we ensure that the inclusion of films and film theory by people of colour in Film and Screen Studies is not tokenistic but integral to the re-envisioning of the whole field?

·         What are the obstacles (institutional, political, economic, and cultural) that might inhibit fully decolonised Film and Screen Studies programmes and why?

·         How can we embrace the diversity of languages in films in the ways that we research, teach and write about films? In other words, how can we extend our work beyond English?

·         How can foregrounding our lived experiences and intersectional identities (cf. Walker 1983, Christian 1985, Crenshaw 1989, hooks 1994) change the ways we engage with Film and Screen Studies research, teaching, and filmmaking practice?

·         How can theoretical/critical Film and Screen Studies programmes and practice-based Filmmaking programmes in Higher Education institutions help one another to decolonise?  

·         What can Film and Screen Studies learn from how other fields and disciplines have been decolonising, and vice versa?

In line with our understanding that decolonisation, in any context, is a deeply affective and complex process, we welcome different methodologies, from practical case studies to theoretically or empirically informed arguments to creative responses. We welcome the inclusion of quotations in different languages although please provide English translations. Please email paper proposals of 500 words, and a biography of 200 words, by 30 April 2020 to Professor Lindiwe Dovey at LD18@SOAS.AC.UKPotential contributors will be notified by 30 June 2020 as to whether or not their proposal has been selected. For those selected, full papers will be due by 30 June 2021. 

Call for Abstracts – Global Screen Worlds: An International Workshop

Call for Abstracts
Global Screen Worlds: An International Workshop
SOAS University of London, UK

September 2021

“Comparative film studies…must necessarily proceed by way of a collaboration between intellectuals from different geo-historical formations. The precondition for such a collaboration is that the participants should be prepared to consider their own intellectual formations and thought-habits as symptomatic constellations shaped by the very same dynamics that animate historicity itself.”
Paul Willemen, “For a comparative film studies”, Inter-Asia Cultural Studies 6.1 (2005): 99

“We need to forge ‘off-centered’ networks of individual scholars, academic programs and institutions, and venues for publication internationally.  The final goal is not to create a globally unified discursive space of film studies, but to forge new networks and channels of communication.”
Mitsuhiro Yoshimoto, “A future of comparative film studies”, Inter-Asia Cultural Studies 14.1 (2013): 54-61

In September 2021, a three-day, fully-funded workshop will be held at SOAS University of London as part of the ERC-funded project “Screen Worlds: Decolonising Film and Screen Studies”. This workshop will form part of the “Global Screen Worlds” strand of the project which – inspired by Willemen’s and Yoshimoto’s words above – calls for comparative, interdisciplinary and “off-centered” approaches to Film and Screen Studies. The workshop and the Open Access edited volume that will result from it are, accordingly, designed to inspire and facilitate collaborative dialogue, research, and authorship among Film and Screen scholars from different parts of the world, but especially from Africa, Asia, and Latin America, and those working on indigenous cinemas.

Film and Screen Studies still largely situates itself within an Anglo-American, European framework. This workshop wants to contribute to work that takes the field beyond this geographical bias by developing new frameworks and methodologies that foreground how the specific histories, languages, politics and cultures of particular places shape and interact with narrative screen media. Rather than the top-down nature of a “world cinema” approach – in which one, lone scholar attempts to be an expert on multiple film cultures – we encourage a grassroots approach in which we will seek to move towards more universal understandings of “global screen worlds” from the specific and particular. The way we aim to do this is by inviting participants to ‘pair up’ with other screen scholars with similar interests but working from or on very different places to co-author work that brings “screen worlds” from two or more diverse contexts into conversation without losing local specificity. We recognise that this is a highly ambitious undertaking and we will offer support with ‘pairing up’ to those eager to participate but who do not have scholarly contacts in other regions.

In the workshop and edited volume we want to explore and compare diegetic screen worlds within films, and also how industrial screen worlds operate (i.e. modes of film production, distribution and exhibition). We seek proposals that aim to pay attention to diegetic similarities, differences and/or significant affinities across narrative screen texts from two or more particular contexts, and/or study actual screen connections (in line with critical transnational cinema studies, cf. Higbee and Lim 2010) or parallel screen histories (e.g. how two distinct regional cinemas that have not interacted have nevertheless had similar experiences). We are interested in comparative analyses that cover, for example, issues of stardom, genre, and melodrama; the films and experiences of female and/or LGBTQ+ filmmakers; themes related to intersectional identities (race, gender, class, ability); the roles of film festivals and “live” cinematic events such as premieres; how video-on-demand platforms and/or the “televisual turn” is affecting the creation, circulation and consumption of narrative screen media; cross-cultural representation (e.g. how Africans are represented in Asian films and vice versa); modes of working with sound and music, as well as issues of subtitling, dubbing and live ‘voicing’ in cinema; the use of narrative screen media (including creative documentaries) within movements for social change and justice; and self-reflexive and autobiographical modes of filmmaking.

Specific questions we are interested in exploring include, but are certainly not limited to:
–    What can be achieved through comparative analysis of experimental cinema in Senegal and Palestine in the 1970s, or of contemporary science fiction cinema in Kenya and Palestine?
–    How can thinking about the work of Wong Kar Wai (Hong Kong) and Mahamat Saleh Haroun (Chad) help us to explore the overlaps between arthouse and popular cinema?
–    Given that many African and Asian filmmakers were trained in the Soviet Union, what impact has this had upon their work?
–    Why have Bollywood and South Korean drama been so popular in certain parts of Africa?
–    Why, in a global context of a shift to online film viewing, has there been a recent increase in cinema-building and cinema-going in places such as Ethiopia and Pakistan?
–    Why has China become so interested in representing Africa in its diegetic screen worlds and in contributing to industrial screen worlds in Africa through investment in Chinese film festivals and Chinese television stations in Africa?
–    How are video on demand platforms such as GagaooLaLa, V-Live, ALT Balaji, BigFlix, Oksusu, Voot, Pooq, iflix, and Qiyi changing the forms and routes of screen media?
–    Do terms such as “world cinema” or “transnational cinema” remain important categories of analysis when it comes to contemporary screen media and why/why not? 

All submissions will need to engage, in some way, with the concept of “screen worlds”, which we put forward as a heuristic device to encourage creative, provocative approaches in relation to screen media. We strongly encourage submissions from both established and early career researchers. Participants must, however, be interested in working closely in a collaborative, supportive way with one or more co-author(s), with other workshop participants, and with the editors.
Submissions need to include:
i)    An abstract of 500 words (highlighting whether you wish to be ‘paired up’ by us with a scholar from a different region)
ii)    A statement of 500 words about why you are interested in participating
iii)    A biography of 300 words
Deadline for abstract submissions: 15 February 2020

Submit to: Professor Lindiwe Dovey (LD18@soas.ac.uk) and Professor Kate Taylor-Jones (k.e.taylor-jones@sheffield.ac.uk)
Please note: we will notify you by 15 March 2020 as to whether we are interested in your abstract. If we are, we will expect a full chapter draft of 6-8,000 words by 15 February 2021. Final decisions about who is selected for the workshop will depend on the quality of these drafts. All transport, accommodation, visa, and meal costs will be fully covered for selected participants. Please note that, in addition to workshopping the chapters during event, there will be several inspiring keynote presentations by leading international screen media scholars, practitioners and creative researchers.

This project has received funding from the European Research Council (ERC) under the European Union’s Horizon 2020 research and innovation programme (grant agreement No. 819236).

The Palgrave Handbook of Asian Cinema among Top 25% most downloaded ebooks

We’re happy to announce that The Palgrave Handbook of Asian Cinema, put together by the Department of Comparative Literature, HKU‘s very own Gina Marchetti and Aaron Magnan-Park, as well as Tam See Kam (University of Macau), is among the top 25% most downloaded eBooks in the Palgrave eBook Collection in 2019. Thank you for your continuous support! https://www.palgrave.com/gb/book/9781349958214

[EXTENDED DEADLINE 31 DEC 2019] CFP Paper Submissions: Asian Women Filmmakers on Global Screens: Networks, Circuits, and Community Connections (27-28 March 2020)

March 27 and 28, 2020
Center for the Study of Globalization and Cultures, Faculty of Arts, University of Hong Kong

Women filmmakers are severely underrepresented in general film distribution (theatrical and auxiliary), film festivals and awards: a phenomenon that adversely affects the visibility of female filmmakers from Asia. However, there has been little concrete investigation into the mechanisms that underpin the status quo. Through engaging international specialists on women in film, this conference seeks to dissect the system, pinpoint the weak spots and identify a possible remedial course of action toward improving the situation of women filmmakers.  The goal of our conversation will not only be to increase knowledge on these matters but to make practical recommendations to the film industry, film festivals, and other institutions.

This conference brings together academics and practitioners to create the opportunity for engagement between communities within the Asian region and beyond. Our objective with this conference is to bring together female academics and practitioners (many of whom have academic credentials as well) for a discussion that focuses on the pitfalls in women’s careers in cinema, aims to identify specific problem areas, and produces concrete remedial recommendations that will then be disseminated to the wider international community.

This follows our successful local summit devoted to women in Hong Kong film higher education (November 2018) and a follow-up on HeForShe male allies (May 2019).  In addition, it supplements information on our website/database devoted to Hong Kong women filmmakers active since 1997(https://hkwomenfilmmakers.wordpress.com/) as well as our directory (https://sites.google.com/view/hkwfhighered/home) on men and women involved in promoting gender equality in film education in Hong Kong.

Professor Dina Iordanova, University of St. Andrews, Scotland, and Professor Soyoung Kim, Korea National University of the Arts will deliver keynote speeches. In addition, Meaghan Morris, Professor of Gender and Cultural Studies at the University of Sydney will be our special guest.

If you would like to present a paper, please send us a title, 250-word abstract, brief bio, and contact information by December 31, 2019. We also welcome self-nominations for delegates to the conference. We are, unfortunately, unable to provide travel and accommodation; however, there is no registration fee and some meals/refreshments will be provided for registered participants.

All correspondence should be sent to Gina Marchetti and Christine Vicera at viceracn@hku.hk with “Asian Women Filmmakers 2020 (Paper)” in the subject line. We will send out notifications of acceptance by January 15, 2020, and open registration after that date. 

First aid workers from Hong Kong 2014 protests front lines have stories told in new documentary

  • In Mong Kok First Aid, filmmaker Mavis Siu documents the experiences of voluntary frontline first aiders during 2014’s violent Mong Kok street protests
  • One speaks of how they used mobile phone torches to examine injuries, ranging from open head wounds to extensive bruising on protesters’ bodies

For the full article, please visit SCMP

Hong Kong Asian Film Festival 2019: from Lion Rock to My Prince Edward, 12 exciting new Hong Kong films to see

A still from Many Undulating Things.

The upcoming Hong Kong Asian Film Festival features an impressive slate of Hong Kong films made by new or emerging filmmakers with a clear affinity for the city. The list includes female filmmaker Pan Lu’s film Many Undulating Things (2019).

For the full article, please visit SCMP.