The 9th Hong Kong International Deaf Film Festival

The 9th Hong Kong International Deaf Film Festival

Venue: Louis Koo Cinema, Hong Kong Arts Centre 
Date: 2019.05.03 – 2019.05.05

Words have limits. Body language, on the other hand, can express ideas through its inherent energy and vivaciousness. Over the past nine years, Deaf Films change the landscape of Hong Kong movie-viewing and cinematography.  The 9th Hong Kong International Deaf Film Festival will be held from 3 May to 5 May at the Hong Kong Arts Centre. Festival Schedule3/5 (Fri) 7:30pm    Opening Ceremony & Programme 1: Growing Up Deaf4/5 (Sat) 2:15pm   Programme 2: Sign Rhapsody4/5 (Sat) 4:30pm   Programme 3: The Sweet and Sour of Deaf Life4/5 (Sat) 7:30pm   Programme 4: Special Selection from US Deaf Film Festival The Strength Within You5/5 (Sun) 2:15pm  Programme 5: Close Deaf Companion5/5 (Sun) 4:30pm  Seminar: Sign Language Education and Film Empowerment5/5 (Sun) 7:30pm  Programme 6: Marie’s Story Tickets are available at URBTIX now. 

The festival includes films by two female filmmakers Katia Belas and Trudy Sargent.

Dialogue with Filmmakers 2019: Jewel Maranan 

Jewel Maranan 
Dialogue with Filmmakers 2019: Jewel Maranan 
Speaking for the silent from a small town near Manila
Jewel Maranan is an independent documentary filmmaker and producer from the Philippines. She started working for independent documentaries in 2008, tackling conflict situations in Manila. Throughout the years, she has developed a deep interest in the ways by which history inches through ordinary life. Jewel is an active participant in efforts to help develop Southeast Asian documentary through the SEA DocNet, a network of documentary professionals in Southeast Asia.
Her 2011 production TONDO, BELOVED: TO WHAT ARE THE POOR BORN? is a geopolitical exploration of life before birth in the smallest home in the seams of Manila’s premier international port. 6 years later, Jewel fixed her critical eye on the lives in the shadow of Tondo’s ever-engulfing port and finished her latest work IN THE CLAWS OF A CENTURY WANTING (official selection to 43rd Hong Kong International Film Festival). It is a filmic symphony of increasing everyday violence in the aspiration for a global city.
菲律賓獨立紀錄片導演及製作人珠慧瑪拉婻,2008年起從事獨立紀錄片工作,關注馬尼拉社會中所發生的衝突事件。多年來,她對歷史如何漸次地影響人們日常生活產生濃厚興趣。她亦致力發展東南亞紀錄片,積極參與由歌德學院所創立的SEA DocNet,透過此協助紀錄片工作者的網絡,鼓勵多元創作、挖掘被遺忘的當地文化。
Date: Thursday 21 March, 2019
Time: 7:30pm
Venue: Studio Room 303, Chong Yuet Ming Cultural Centre, The University of Hong Kong
Guest Speaker: Ms. Jewel Maranan
Moderator: Ms. Ruby Yang (Project Director of Hong Kong Documentary Initiative)
Language: Lecture in English
Dialogue with Filmmakers 2019: Programme Details

Screening: Like an abortion, for the very first time (2018)

Like an abortion cover

March Screening
Like an abortion, for the very first time
Documentary|102’| Chinese & English subtitles|2018|Hong Kong

The 79 day long occupation by the 2014 Umbrella Movement was a process pregnant with hope to change the fate of Hong Kong and steer it towards democracy. This process had a bright side: most of it’s so called beautiful scenes occurred in the relatively upper class Admiralty district…
But the people in this film come from elsewhere: Mongkok, a place with a vigorous darkness. Sifu (the master), Tou-dai-zai (the boy), and their friends were humble participants in the movement. They were simultaneously volunteers, designers, labourers, and residents, who constructed shelters for the people at the Mongkok occupation site. This story is their portrait…

After screening talk with Bryan Chang (Film critics), Jojo Cheng (Documentary filmmaker) & Liu To (Director of the film)

15 March (Friday) 7:30PM
Film Culture Centre
Flat A2, 4/F, Acro Industrial Building, 19 Yuk Yat Street, To Kwa Wan, KLN, H.K.

*Pay what you want


三 月 放 映
扯旗﹑我要真普選和…… (又名:六點)
紀錄|102分鐘| 中英文字幕|2018| 香港


鄭藹如(紀錄片導演)、廖韜 (本片導演)

三月十五日 (星期五)



The Art of Film Festival Programming

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How do films circulate internationally and what role do film markets, film festivals, and film venues play in this phenomenon?

Three programmers who specialise in Asian cinema will discuss these matters along with their individual strategies, training, and success stories during this special panel.
All three panelists are in Hong Kong for Filmart and the Hong Kong International Film Festival so particular attention will be given as to how these two events empower them to do what they do more effectively.

Dr Elena Pollacchi
Elena Pollacchi is Lecturer in Chinese Studies. She has taught courses on Chinese cinema and culture at Ca’ Foscari University of Venice (Italy) and at Gothenburg University (Sweden). She is also programmer for Chinese and South Korean film at the Venice International Film Festival. Her research encompasses the Chinese film market in its transnational connections, Chinese documentary film, and film festivals. Her recent publications include chapters in Chinese Film Festivals: Sites of Translation (eds. C. Berry, L. Robinson, Palgrave Macmillan 2017), Taiwan Cinema: International Reception and Social Change (eds. K. Chiu, M. Rawnsley, G. Rawnsley, Routledge, 2017) and Screening China’s Soft Power (P. Voci, L.Hui; Routledge, 2018), and the article “Extracting narratives from reality: Wang Bing’s counter-narrative of the China Dream” for the Journal of Documentary Studies (Special Issue: Engagement, Witnessing and Activism: Independent Chinese Documentary Filmmakers Different Positions, Approaches and Aesthetics), 11:3 (2017).

Prof Andrew Willis
Andy Willis is Professor of Film Studies at the University of Salford, Senior Visiting Curator: Film at HOME in Manchester, and a founder member of The Chinese Film Forum UK. He has written widely on film related topics with a special interest in popular cinemas and UK distribution and exhibition trends. He has curated numerous film seasons including Visible Secrets: Hong Kong’s Women Filmmakers (2009) and CRIME: Hong Kong Style (2016).

Mr Samuel Jamier
Samuel Jamier is the Executive Director of the critically-acclaimed New York Asian Film Festival, which is known for its outstanding selection of entertainment and arthouse films. He was previously the chief programmer for the Japan Society and was in charge of the Japan Cuts Film Festival. Highly knowledgeable and familiar with Asian films and regional industries, Jamier was in Singapore as part of the recently concluded SGIFF 2018, where he served as an International Advisor on the Silver Screen Awards Panel.

Moderator: Dr Aaron Han Joon Magnan-Park, Department of Comparative Literature, HKU

Date: Wednesday 20 March 2019
Time: 2:30-4:30pm
Venue: CPD LG.08, Centennial Campus, HKU

All are welcome.

For enquiries, please contact Christine Vicera at

Call for Papers: Northern Lights: Film & Media Studies Yearbook

Call for Papers: Northern Lights: Film & Media Studies Yearbook

For more information, click here >>

Special issue: ‘Horrific bodies: Surveillance, screens and screams’

Edited by Susan Flynn, University of the Arts, London and Antonia Mackay, Oxford Brookes University

Body horror concerns narratives in which the corporeal uncanny is produced through the destruction or annihilation of the natural human body. The contemporary screen contains countless examples of horrified and terrified bodies; watched, tracked, analysed, transformed and degenerated, these ‘horrific’ bodies speak to the angst of the current social, cultural, political and technological world in which we reside. The practices of surveillance, both diegetic and non-diegetic, offer new versions of modern horror; while the horror genre itself has been generously theorized and analysed, its intersection with practices of surveillance opens up new avenues for discussion and the possibility for radical critique of representational systems. Surveillance, of and within horror narratives, offers a particular nuance to our readings of the genre, and the critique of surveillance itself may help us to excavate how we construct notions of gender, race and power, as well as the psychological terror and fear of surveillance itself. The focus of this special edition of Northern Lights, therefore, is the intersection between the horror genre and practices of surveillance, and this edition seeks to promote emergent approaches to screen analysis.

Notions of surveillance have long captivated the creative imagination and been envisioned at multiple sites, through narratives, images and performances. Whilst surveillance studies as a field of enquiry ostensibly concerns the production of new theoretical and empirical understandings of human behaviour vis-à-vis a burgeoning field of technological development, the project of this issue of Northern Lights is to employ cultural surveillance studies to better understand the human, psychic and bodily affects/effects and manifestations of the practices of surveillance. Operating within the paradigm of cultural studies, we seek to delve into the realm of surveillance as it is portrayed on screen so that we may explore the critical juncture at which surveillance renders bodies ‘horrified’.

The ubiquity of surveillance within horror narratives, one might argue, is perfectly placed to draw attention to cinematic processes, while at the same time, de- naturalizing the human body. The editors are particularly interested in transgressive visions of surveillance from within the horror genre that also consider the ways in which the surveillant field emerges from beyond the lens.

Areas of exploration may include architecture and horror (haunted houses for instance) as sites of surveillance; the body as a corporeal manifestation of visibility from within the discourse of slasher and gore narratives; the use of omnipotent watching as a dystopian motif in contemporary cinema (and its links to political and cultural change); and the manifestation of surveillant practices in horror that stem from geographical or topographical positions (prisons, schools, suburbia, cities, etc). Recognition of the prevalence of surveillance not only in our past but also in our future requires that we acknowledge the ubiquity of surveillance in our cultural products and psyche and attest to the manipulation of the gaze present in on-screen horror.

We seek new and original approaches that move beyond traditional theories of surveillance, and of horror. Potential topics may include, but are not limited to:

  • Radical readings of horror through surveillance
  • Feminist horror criticism for the digital age
  • The new horror of digital interference
  • The corporeal, biotechnology and the digital
  • Slasher films and surveillance
  • Contemporary psychological terror
  • The abject and the corporeal
  • Architectural constructions of the ‘horrific’
  • The watching of othered bodies from within a transgressive surveillant lens
  • Television series and use of the nostalgic as a lens by which to critique the contemporary
  • Postcolonial readings of film that speak of the viewing of racial bodies and their ‘use’ and ‘appropriation’ within the horror genre
  • Spoof horror and B-movies and their application of surveillant lenses from within the skewed and comedic
  • Transitional spaces and the borders and territories of the horrific (motels for instance)
  • Movement and the supernatural as a means by which to transgress the lens

Abstracts of 400–500 words, together with a brief biographical note, should be submitted by 10 February 2019. Please email these directly to Complete papers of 6500–7000 words are due on 1 July 2019.

Northern Lights: Film & Media Studies Yearbook is published by Intellect. Please refer to the style guide here: MediaManager/File/intellectstyleguide2016v1.pdf



the neighbourhood

While the word “community” is more often than not suffused with a benevolent glow, connoting the virtues purportedly associated with groups of people—shared values and heritage, constancy and solidarity—“neighbourhood” is a term that has a more ambiguous, even troublesome, valency. Neighbourhoods, depending on one’s point of view, can be good or bad, welcoming or hostile, safe or dangerous, dull or vibrant. They can also, in both their physical and figurative senses, change over time, beset by vagaries, be they sociological, geographical, political, moral or even psychological.

These changes can be existential—neighbourhoods come and go, they die out or are subsumed into larger ones, or are supplanted by newer geographical collectivities. Neighbourhoods are sometimes strictly demarcated from others—most often on economic lines, but also on racial or linguistic ones. They can be coterminous with communities or straddle multiple ones. The division between one neighbourhood and another can also be undefined but clearly perceptible. Neighbourhoods may also contain within them their own faultlines; one’s neighbours might be accepted and tolerated but kept forever at arm’s length. Neighbours who keep their distance from one another, who, in Robert Frost’s words, believe, good fences make good neighbours. This can be a vector for either exclusion as much as inclusion; while being “neighbourly” is an undeniably positive trait, there are many people who, in explicit or unspoken ways, do not desire certain groups or types of people as neighbours. Sometimes the undesired object is not personal, but rather and institution or a facility, giving rise to the acronym “Nimbyism”, from “not in my back yard”.

We welcome papers exploring the manifold ways in which neighbourhoods, neighbours and the idea of the neighbourhood are treated in narratives (both popular and literary), visual art, popular culture, media, government policy, public discourse, theoretical systems, and more. Possible fields for exploration include (but are not limited to) Hong Kong’s gai fongs and their role in the popular imagination; literary portrayals of neighbourhoods, fictional and non-fictional; childhood memoirs; immigrant narratives; gentrification; loneliness and community; street art; film representations; travel writing; class relations; the culinary heritage of neighbourhoods; the neighbourhood in rural culture; buildings as neighbourhoods; the evolution of Hong Kong neighbourhoods; the neighbourhood and political protest; the poetics of the neighbourhood; news reporting; mapping neighbourhoods; the influence of technology and the internet on perceptions of the neighbourhood; international relations and the concept of regional neighbourhoods.

Tammy Lai-Ming Ho, Michael O’Sullivan, Eddie Tay and Michael Tsang

Abstract Submissions:

Please send 250-word abstracts (for 15-20 minutes presentations) by Friday 15 March 2019 to Tammy Lai-Ming Ho at for consideration.


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We are pleased to invite scholars and graduate students interested in Hong Kong Studies to submit proposals for paper or panel presentations at the 1st Annual Conference of the Society for Hong Kong Studies, to be held on 22nd June, 2019, in Hong Kong (exact venue to be confirmed). The SHKS welcomes proposals on any theme related to Hong Kong Studies, including but not limited to:

Hong Kong social and economic history
literature, cinema, and the arts
political institutions, elections, governance
social movements and civil society
law and criminal justice
global city, popular culture, tourism, urban development, environment
inequality, poverty, gender, class, ethnicity and race, sexuality
transnational, regional, cross-border dynamics, migration
economic development
demography and family

As the only academic association promoting Hong Kong Studies that is inter-institutional and interdisciplinary, the SHKS offers a unique platform for scholarly exchanges and professional community formations. Our annual conference will feature organized panels, author-meets-critic sessions, keynote addresses and roundtable discussions on topics related to Hong Kong Studies.

Eligibility: Scholars and graduate students at any stage of professional careers at any local or overseas university are welcome to submit paper or panel abstracts (250-500 words in length). Authors and panel organizers whose abstracts are selected will be contacted by the SHKS by March 15, 2019. Full papers are due May 31, 2019 to allow adequate time for invited discussants to read and prepare comments.

Deadline of submission: February 28, 2019

Publications: The SHKS will select high-quality papers for “special issue” submissions to academic journals. With permission from authors, papers presented at the Annual Meeting will be archived on the SHKS website.

Registration fee: Free for SHKS members and graduate students; $500 for non-members

Please send your submissions to: Benjamin Lam, SHKS Executive Officer, at

Call for Films: 10th Annual IIPPE Conference – Lille, France, 3–5 July 2019

Call for Documentary/Activist Films, Video Art Projects and Activist Talks

10th Annual IIPPE Conference – Lille, France, 3–5 July 2019

The International Initiative for the Promotion of Political Economy (IIPPE) is inviting submissions of film and video art projects, and activist talks.

IIPPE is one of the largest international networks of heterodox political economists with a critical approach to neoliberal capitalism. Part of IIPPE’s objectives is to establish links between academics, artists, filmmakers and activists who are working for a more just and equal world.

This year’s conference is organised with the French Association for Political Economy/ L’Association Française d’Économie Politique (AFEP), with participation of the Association for the Development of Keynesian Studies (ADEK), the Association for Heterodox Economics (AHE) and the European Association for Evolutionary Economics (EAEPE).

In parallel with the academic conference, IIPPE will feature a film screening and discussion programme that addresses major issues affecting our world such as poverty, climate change and environmental crises, migration and displacement, gender equality, international development, privatisation, banking and financial fraud, the global economic crisis, the rise of the extreme right, armed conflicts, neocolonialism, etc.

Documentary filmmakers and video artists are invited to submit work of around 20 – 90 minutes duration, to be screened followed by a discussion. Activist presentations or workshops may be of a similar duration. Films which do not have English as their main language must have English subtitles. Work will be screened as a digital video file, and the creator of the work or a representative with significant involvement in research or production must be present for the discussion session.

The IIPPE conference provides a unique opportunity for networking, which includes a conference dinner.

IIPPE is independent of any academic institution and entirely funded by presenter’s fees. Conference fees will be waived for film makers and activist presenters (apart from an €30 IIPPE membership fee which needs to be paid). Please note that cost for travel and accommodation can unfortunately not be subsidised by IIPPE.

To submit your work for consideration, please register via Sciencesconf:

To see an English-language version of the website, click on the British flag on the top left of the page. If you have not used Sciencesconf before, you will need to create a new user account.

Once you are logged in, click on ‘Submission’ in the menu on the left, and then ‘Step 2: Submit’. On the next page, under ‘Type’ select ‘IIPPE Paper’, under ‘Topic’ select ‘IIPPE Activist Committee’, and fill in the other fields (Title, Abstract, Keywords) with the relevant information.

The extended submission deadline is 29th January 2019. Submissions must be done via the above website. For further information on IIPPE, please visit our website

Call For Papers: Feminist Pedagogies – special issue of MAI: Feminism and Visual Culture

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Calling contributions to a special issue of MAI: Feminism and Visual Culture on *Feminist Pedagogies*

The intersectional feminist and LGBTQI journal /MAI/ is seeking contributions to a special issue on feminist pedagogies. Across the board, feminist research and teaching in Higher Education is increasingly vulnerable to ideological attack. The recent “prank” conducted by Pluckrose, Lindsay and Boghossian to make fun at so-called “grievance studies” systematically works to undermine scholarly work in feminist, queer, critical disability and critical race studies and other fields. This context makes feminist teaching both more vital, and more vulnerable, than ever, as revealed by open letters such as that published in the second issue of MAI. <…/> This special issue aims to explore the place of feminism in the classroom, revealing pleasure and resistance, complaint and celebration.

We welcome contributions that address the strategies, obstacles and opportunities of feminist pedagogy in a range of contexts from classroom discussions and syllabi to faculty committee meetings, screening rooms and activist spaces. Feminist teaching happens everywhere. Contributions might range from conventional academic articles (6000-8000 words) to interviews (1000-3000 words), creative writing (poems, short stories, creative responses, max 3000 words), video essays (5-10 mins with brief supporting statement of 800-1000 words), and photographs, visual/audiovisual or interactive art.

Abstracts should be 200-250 words, and be accompanied by a short bio. Please email abstracts to /MAI /editorial board member Clara Bradbury-Rance ( <>) by 8th March 2019. Contributors will be notified of the status of their proposal in early April and full submissions will be due by 31st August 2019 (see here <> for guidelines).


Film Screening: Like an abortion, for the very first time (2018) and Mongkok Story (2018) by Liu To

Devoted to documenting the umbrella movement, Hong Kong independent filmmaker Liu To focuses on making films that reveal stories of the ordinary. Her new films “Like an abortion, for the very first time” and “Mongkok Story” will be showing in the Hong Kong Independent film festival this month.

Like an abortion, for the very first time (2018)
31 Jan 7:30pm

Screening Room, HKICC Lee Shau Kee School of Creativity

Mongkok Story(Included in “Independent shorts Marathon”)

2 Feb 2:20pm

Screening Room, HKICC Lee Shau Kee School of Creativity

For more information, please visit Hong Kong Independent film festival