Pau, Ellen

Critical Biography    Filmography    Reviews    Links   Bibliography

Pau, Ellen – Critical Biography  Top

Ellen Pau
Ellen Pau

Although Ellen Pau graduated from Hong Kong Polytechnic with a degree in radiography, she was, even in her student days, more interested and actively involved in the creative and performing arts. She acted in stage productions, edited music publications, and also organized pop concerts before beginning to make shorts in the Super8 format. Upon graduation, she joined the experimental theatre group Zuni Icosahedron, where she participated in numerous productions. Pau co-founded the media art collective Videotage in 1986, with Wong Chi-fai, May Fung Mei-wah and Comyn Mo. For years, Videotage served as a showcase for new media art in Hong Kong, with regular, curated screenings, public lectures, as well as workshops, with Pau acting as its artistic director. In 1996, Pau also founded the Microwave International New Media Arts Festival. During its early years, Microwave focused on exhibiting new media works in the CD-ROM format, but as media art became a more prominent practice, the festival has expanded to include components such as interactive installations and non-screen based media art works. In addition to her curatorial work, Pau is a prolific artist, focusing mostly on video installations. Her 2011 work, Recycling Cinema, was selected for exhibition at the 49th Venice Biennale’s Hong Kong Pavilion. In 2014,  Pau was elected as Chairperson of the Film and Media Arts Committee at the Hong Kong Arts Development Council and as a member of the interim acquisition committee for the West Kowloon Cultural District Authority.

Song of Goddess (1997)Song of Goddess (1997)

filmoFilmography   Top

Feature Films:

Role Title (English) Title (Chinese) Year
Cinematographer Women’s Private Parts (Trailer) 女人那話兒  2001


Role Title (English) Title (Chinese) Year
Director Song of Goddess (Trailer) 似是故人來 1997

Video Installations: 

Role Title (English) Title (Chinese) Year
Director Recycling Cinema N/A 2001
Director Red Stock: Post Pledge Movement N/A 1998
Director Recycled Opera N/A 1997
Director Drained IV (Series #4 of Drained) N/A 1997
Director I Only Tell It to Stranger (Series #3 of Bik Lai Chu) N/A 1997
Director Bak-Lai-Chu N/A 1997
Director Vogue N/A 1992
Director Exhibition for Women N/A 1991
Director Alice doesn’t Live Here Anymore N/A 1990
Director Disenchantment of the Statue N/A 1988
Director Glove N/A 1984

reviewReviews   Top

Women’s Private Parts (2001):

 Hong Kong Film Critics Society – Feature of July: The Bobo Nature under Feminism –The Film of Wong Chen Chen


CRUMB – Videotage Hong Kong: an Interview with Ellen Pau
One World Exposition – One World Exposition Artist Roundtable Discussion
SCMP – ‘We can’t afford another generation too lazy to think’, says arts adviser
Universes in Universe – Ellen Pau: Interview


HKATV – 亞洲政策組 – 港人不能治港? 第37集「牛棚 與 藝術家」
亞洲政策組 – 港人不能治港? 第38集「藝術發展,昨天的努力,今日的成果」
亞洲政策組 – 港人不能治港? 第39集「香港藝術發展應該如何改革?」
HK Good Jobs – 《星.聲Career》鮑藹倫 – 藝術.太奇 (Part 1) (Part 2)
i-Cable – 2008《數碼演義》展覽
Tum Tum HK – 「電影藝術範疇」鮑藹倫

linkLinks   Top Biography of Ellen Pau:
CityU GE1110 – Blog about research on Ellen Pau:
Hong Kong Art Archive profile of Ellen Pau:
IMDB of Ellen Pau:
Microwave International New Media Arts Festival: profile of Ellen Pau:
Videotage (company):
Videotage youtube channel:

biblioBibliography   Top

  1. Dye-a-Di-a-Logue with Ellen Pau. New York: Monographs in Contemporary Art Books, 2004. Print.
  2. Talkover/Handover Artist Interview: Lau Gukzik & Ellen Pau. Video. Asia Art Archive, Hong Kong, 2007. DVD.
  3. “‘We Can’t Afford Another Generation Too Lazy to Think’, Says Arts Adviser.” South China Morning Post 20 January 2014. <>.
  4. Pau, Ellen. “5 Films Every Arts Practitioner Should Watch”. 2 August 2013. Art Radar. <>.
  5. Reynaud, Bérénice. New Visions/New Chinas: Video – Art, Documentation and the Chinese Modernity in Question. Cantonese Opera and Female Masquerade. Resolutions: Contemporary Video Practices. Eds. Renov, Michael and Erika Suderburg. Minneapolis: University of Minnesota Press, 1996. 245-46. Print.