Lai, Chiu-han Linda

Critical Biography    Filmography    Reviews    Links   Bibliography

Lai, Chiu-han Linda – Critical Biography  Top

Linda Lai
Linda Lai

As an undergraduate, Linda Lai was an English major minoring in Fine Arts at the Chinese University of Hong 
Kong. She then studied abroad in the US, obtaining an M.A. degree in 
communication and journalism at Wheaton College, Illinois, and her Ph.D. in Cinema Studies from New York University. Lai currently 
teaches at the City University of Hong Kong’s School of Creative 
Media, where she serves as an Associate Professor and leader of BA (Creative Media). Alongside her academic work, Lai has been active as an interdisciplinary artist. Her creative work explores various forms of experimental historiography, from videography, visual 
ethnography to digital and mixed media installations. She has been in International competition three times at the International Short Film Festival Oberhausen (I Told Them My Camera Was On [2005], Shanghai 
Saga: Other Skies, Other Lands [2009], Non-place, Other Space [2011]). Her various video works have been shown at the London Open City Documentary Festival, International Women’s Festival at Seoul, Women Make Waves Taipei, Jihlava International Documentary Film Festival, LOOP-Barcelona Video Art Fair/Festival, plus various European and US festivals. She is also featured in the experimental film/video festival circuits around Asia, including EXiS (Seoul), EXiT (Taipei), EXiM (Macao), and KLEX (Kuala Lumpur). Her installations have been exhibited at such venues as the Digital Art Center Taipei, Hong Kong Art Biennial, Hong Kong Contemporary Art Award, and the Shanghai Biennale. Lai’s video works have been archived at Videotage and the 
Asia Art Archive. Her video works have received full incitation in ASPECTS: the 
Chronicle of New Media Art (v. 18, fall 2011, Boston) and in scholar Kimburley Choi’s contribution to the Hong Kong Film Critics Society’s first book on local independent documentaries (蔡穎儀,「黎肖嫻與麥海珊:兩女性在紀錄片形式的實驗」,《製造香港──本土獨立紀錄片初探》,張偉雄、周思中合編, 香港電影評論學會,香港, 2011).

filmoFilmography   Top

Shorts:

Role Title (English) Title (Chinese) Year
Director The House, The Flat (aka La Casa 1-2) 居所一、二 2014
Director Doors Medley 重重門。門對門。 2014
Director Door Games Window Frames: Near Drama 景框戲門 2012
Director Voices Seen, Images Heard (Trailer) 看得見的聲音,聽得見的形象 2009
Director Non-place, Other Space (Trailer) 隱城・懸浮半空 2009
Director Shanghai Saga: Other Skies, Other Lands (Trailer) 上海歌:另尋天地 2009
Director Trespassing World Cities (Trailer) 搖擺過路人 2005
Director Door Game (Trailer) 戲門 2005
Director I Told Them My Camera Was On (Trailer) 六度分離∶準備好未? 2004-5

 

reviewReviews   Top

Door Games Window Frames: Near Drama (2012):

EXiS – Door Games Window Frames: Near Drama

DAT research & development lab – The Burning Edge + White Walls Have Ears

 Silent Speeches of Linda Lai – An interview on ‘Door Games Window Frames: Near Drama” (single-chanel video version) with EXiS

I Told Them My Camera Was On (2004-5): 

Les Rencontres Internationales – Linda Chiu-han LAI

linkLinks   Top

A Floating Site – video. published (Work Archive)

Aspect – Linda C.H. Lai

City University of Hong Kong – Linda C.H. LAI

Vimeo – Linda Lai

Linda Lai received the Artist of the Year Award in Media Arts granted by the Hong Kong Arts Development Council 

Linda Lai interviewed by Hong Kong Arts Development Council

biblioBibliography   Top

“Early Cinema Aesthetics: A Contextual View.” Hong Kong Film Archive Newsletter. Hong Kong, April 2004. Print.

“Hk Cinema in the 1930s: Docility, Social Hygiene, Pleasure-Seeking & the Consolidation of the Film Industry.” Screening the Past. 11 (2000). Web. < http://tlweb.latrobe.edu.au/humanities/screeningthepast/current/cc1100.html>

“Contemporary ‘Women’s Art in Hong Kong’ Reframed: Performative research on the potentialities of women art-makers” –Positions, special journal issue edited by Shu-chin Tsui, under review (Duke University).

“My Son A-Chang (1950)” – an encyclopedic entry Critical Filmographies of World Cinema: Hong Kong, edited by Joelle Collier, to be published by Caboose, Canada.

〈在「人類紀」以活動影像為據點重整「辯證結構」〉《新美術》2017年2月,中國美術學院學報,總38卷,118-131頁,中國杭州。[essay “Moving Image as a tactical location to restore ‘dialectical structures’ in the Anthropocene,” in special issue on the Anthropocene, Journal of the National Academy of Art (CAA Journal), v. 38, number 2, 2017, pp. 118-131, Hangzhou, Feb 2017] [Read…]

“Documenting Sentiments in Video Diaries around 1997: archeology of forgotten screen practices – in A Companion to Hong Kong Cinema, edited by Gina Marchetti, Esther Yau, and Esther Cheung, Wiley-Blackwell. Published August 2015.

“Video Art in Hong Kong: Organologic Sketches for a Dispersive History” in Hong Kong Visual Art Yearbook 2014; Chinese University of Hong Kong (Fine Arts Department), funded by the Hong Kong Arts Development Council. Published July 2015. [bi-lingual]

〈蕩游者何往?- 中國大陸九十年代城市電影的“空間實踐”與“負詩學”〉,《城市一代:世紀之交的中國電影與社會∕紀錄、影像:海外與中國》,張真編,復旦大學出版社,2013年10月。

“Attempting a history of (new) media arts for Hong Kong: archaeology, literacy and education for artists,” in Hong Kong Visual Arts Yearbook 2007, by the Fine Arts Department, the Chinese University of Hong Kong; Chinese University Press, 2008. Pp. 97-183. [bi-lingual]

“Wither the Walker Goes: Spatial Practices and Negative Poetics in Huang Jianxin’s `Urban Attitude’ Films and the Works of Some `Outside-the-institution’ Filmmakers in the Late 1990s,” anthologized in The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century, ed. Zhang Zhen (Duke University Press, 2007).

[In Chinese] “cong changbian dianshi ju zhen qing chufa de richang shenhuo wanglu tanjiu: sange bendi zhufu de `wenhua ziben’ yingyong” (“Surveying the network of connectivity evolving from the reception of popular TV drama series True Love: a study of three local housewives’ mobilization of their cultural capital”), Gendering Hong Kong, co-published by Centre for Asian Studies (HKU) and Oxford University Press (China), 2004. [The essay first appeared in Hong Kong Women: Case Studies; 2nd edition); Hong Kong: Society for the Advancement of Women Rights, 2003.]

“Film and Enigmatization: Nostalgia, Nonsense, and Remembering,” anthologized in At Full Speed: Hong Kong Cinema in a Borderless World, ed. Esther C.M. Yau, (Minneapolis: University of Minnesota Press, 2001), 231-50.

“HK Cinema in the 1930s: Docility, Social Hygiene, Pleasure-seeking & the Consolidation of the Film Industry,” in Screening the Past (an electronic refereed journal on film and media arts published in Australia), issue #11. Officially Upload on November 1, 2000 [citation page..] [read pdf version…]

“mei xushi: yige youguan luxiang chuangzuo de kua xueke de shiyan” “微敘事 :一個有關錄像創作的跨學科的實驗” [Micro Narratives: an interdisciplinary experiment on video creation] in Shi ba an: zhongguo meishu yuanxiao shiyan yishu jiaoan《十八案:中國美術院校實驗藝術教案》[18 cases: pedagogic cases in experimental art for art academies in China]; Hangzhou: China Art Academy, 2008. pp. 149-164.

[Digital Catalogue in DVD-ROM] General Editor / Contributor, The Writing Machine Collective 2nd Edition: Machine and Writing as Sites, published September 2007, fully funded by the ACD, one of the 4 awarded Creative New Media Projects.

Editor/Contributing Artist/Contributing Writer for A Matter of Ownership: a bilateral Exchange between Para/Site (Hong Kong) and The Substation (Singapore) (Hong Kong: Para/Site Art Space, 2005), produced with funding from the Hong Kong Arts Development Council. 178 pages.

“Between `I’ and `You’: an Architextual Construction of Li Ngaw’s Broadcast Drama as Film Adaptation,” in The Hong Kong-Guangdong Film Connection, ed. Wong Ainling (Hong Kong: the Hong Kong Film Archive, 2005), pp. 184-201.

General Editor/Coy Editor for digital catalogue (on CD-ROM), Take a ST/Roll: Donut Fantasies in the Wake of the 21st Century, for the art exhibition “Take a ST/Roll” (March-April 2005); also author for article “Generative Experiences: art-making as procedures and classification” and co-author with Kongkee and Reine Wong for “The Struggle to Manipulate Data as an Art Form: Problem-solving in the creative process of the Donut / Face: the database”; sponsored by ADC.

“Early Cinema Aesthetics: a Contextual View”, Hong Kong Film Archive Newsletter April 2004.

“Serial Thinking: the Infinity and Limits of Modernism; Extension from Danny Yung’s Memorandum of the Rock.” in From Close. From Afar, a publication issued to accompany the exhibition “Tree/Man: Danny Yung’s Solo Exhibition,” by 1aSpace, November, 2003.

[in Chinese] “shixiang de ganxing zhi pu” (affective vectors of the moving images”), Artism Bimonthly June 2003, by Hong Kong: International Association of Theatre Critics (Hong Kong).

“Retrieving an Old Thesis: Gazing at the Screen,” keynote essay for the “Third Text: Image + Media 03,” an international experimental media art festival, May 26-June 6, 2003, School of Creative Media, the City University of Hong Kong. (The piece appears in the program brochure of the event as well as individual handouts for visitors.)

“Multiple voices, diverse cultures: an overview of FIPRESCI-Hong Kong contestants,” for the FIRESCI (International Film Critics Alliance) official web-site (April 19, 2003).

“Rice Distribution: an Open Document,” in Hong Kong Indie Films @27th HKIFF (Hong Kong: Ying E Chi, April 2003), pp. 60-1.

Big Road: an Eclectic Text,” (on Shanghai film classics Da Lu directed by Sun Yu, 1934), in Fifty Chinese Classics, proceedings for the Hong Kong International Film Festival, March-April, 2001.

“Film Development Fund: Re-vision for Patchwork” (an interview with Christine Choy, Member of Projects Vetting Committee, FDF), for Asian Independent, a component of the International Film Festival of HK, April 2000.

“Producing Heterotopia Traces of the Cinema in the Thick Space of Governmentality, Localism and Citizenship in 1934 Hong Kong.” Thesis (Ph.D.)–New York University, 2006. Print.

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