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CITATIONS
[Curatorial works...][Art/creative works...] [Art books & catalogues collected in university libraries...] [Scholarship...] [Teaching...]
[Digital Arts - General]
"Descriptions of Hearing" at Digtial Arts Center Taipe (DAC)i: 'curatorial philosophy' - interview by DAC (from DAC audi-visual archive) [view entire interview...]
《台灣與香港新媒體藝術的契機 I：知識主體、感知與實踐》[opportunities of new media art in Taiwan and Hong Kong: the subject of knowledge, perception, cognition and practice] / 採訪：貢幼穎／整理：貢幼穎，藝外+數位荒原, posted on NO MAN'S LAND (荒原), 2012.02.29 [read interview-dialogue (in Chinese)...]
《短評台北數位藝術中心展覽〈聽覺摹寫〉》，全球藝評 Art Critic / 吳毓庭 發表於 2012.02.29, Taipei / [view full review...]
[Experimental documentary / Visual ethnography / Video art]
( * = academic context)
General practice in Visual Ethnography and as a visual ethnographer
蔡穎儀，〈黎肖嫻與麥海珊：兩女性在紀錄片形式的實驗〉('Linda Lai and Anson Maki: two women experimenting with documentary forms' by Kimburley Choi); in《製造香港──本土獨立紀錄片初探》[making Hong Kong - first explorations in local independent documentary films], 張偉雄、周思中編 (edited by Bryan Chang), December 2011, Hong Kong Film Critics Society. [...]
CityReborn - for One World Exposition 平行世界 by Videotage - interview with Linda Lai (黎肖嫻 專訪) for her participation with the work "Voices Seen" and my general practice in documentary videography: http://www.youtube.com/watch?v=iZZVNrerk3g (uploaded Dec 29, 2011)
2011 九龍城書節MaD講座：<電影藝術與生活>: 陳耀成、黎肖嫻 [MaD talk series: "film art and daily life" - Evans Chan and Linda Lai in dialogue; as part of the Kowloon City Book Fair 2011], December 15, 2011. Full dialogue documentation on YouTube: http://www.youtube.com/watch?v=uDe7cn5lM0Y
JC Gonzo, "EXPLORING THE HIDDEN CITY – A Review of Visual Ethnographer Linda C.H. Lai," in The End of Being (Oct 26, 2011) [...]
"Non-place / Other Space" (4.2009)
-吳毓庭: 《短評台北數位藝術中心展覽〈聽覺摹寫〉》，全球藝評 Art Critic; 2012.02.29, Taipei :
"《隱城─懸浮半空》或許是我認知上比較能擴張聽覺的作品。創作者採集了過去生活中的影像紀錄(包括聲音)，而這段生活跨越的時序不算短，自1991到2000年，活動於香港與澳門。如創作者所言，這些影像或長或短的拼接(仍舊是一幅幅畫面依序排列，非以拼貼(collage)呈現)，串連起的是記憶中的「點」與「面」。作品進行時，觀者並不知年份亦不知地點，但藉由我們長期對週遭環境累積的「點」、「面」印象，得以進入了一種「類比自我生活」的情境。而夾雜在畫面中的聲音，或強或弱，或持續或短暫，則體現了自我回憶時常常欲聽見卻不得清楚、想忘卻但聲猶在耳的生命情境。"
-DAC (Digital Arts Center Taipei) interview (Feb 10, 2012, Taipei) - [view full video interview...]
*Kimburley Choi & Cultural Studies -
http://kim-culturalstudies.blogspot.com/2009/08/non-place-other-space-lai-2009.html
-Expose of Non-place in the official catalog of "This is Hong Kong" (Para/Site, Hong Kong, 2010)
“......錄像裡地點和情緒高速流轉，與徘徊實驗和歌劇風格之間的音樂並行。接續的流動影像之間，照片和感性（或詩意）的日誌文字浮現，與...徐疾有致的剪接節奏亦步亦趨。......”
"......Throughout this rapid succession of places and emotions, the soundtrack drifts between the experimental and the operatic; the moving images are interspersed with still photographs and sentimental or poetic journal entries reproduced in text over the images, all of which becomes subject to...varying rhythms of editing". -- Venus Lau, Robin Peckham / to read FULL EXPOSE [......]
"Voices Seen / Images Heard" (11.2009)
CityReborn - for One World Exposition 平行世界 by Videotage - interview with Linda Lai (黎肖嫻 專訪) for her participation with the work "Voices Seen": http://www.youtube.com/watch?v=iZZVNrerk3g (uploaded Dec 29, 2011)
ASPECT (the Chronicle of New Media Art) volume 18 (fall, 2011), "Export China"; commentary by Kimburley Choi.
Jane Chung 钟瑾, Xinmin Weekly no. 19《新民周刊》2011年第19期（5月16-22日） (Shanghai): "影像——想象香港的第N种方法" [Images: the nth way to imagine Hong Kong] (16-22.05.2011 / 文化版 culutral page) [link to full essay in Chinese...]
*Prof. Alf Luedtke, paper read at the historians' workshop "Everyday Coloniality" (History of Everyday Life - Transnational), at Hanyang University, Seoul , South Korea, Nov 5-6, 2010 [read complete draft - 8 pages...]
Cho Hye-young, programmer's notes, from the proceedings of the 12th International Women's Film Festival in Seoul 2010:
"Voices Seen, Images Heard is an alternative historiography written in the form of visual ethnography and travelogue. The director tries to write the history of Hong Kong with a variety of her collections including photos, paintings, movies, and newsreels, but these visual materials contrastingly distract our understanding about Hong Kong. The location of, a Hollywood movie which pictures Hong Kong people in a ridiculous manner, is not Hong Kong but Shanghai. Visual materials have great effect in understanding a country, but none of the visual materials about Hong Kong here show Hong Kong as it is. Maybe, being torn apart and scattered, those materials per se are the history of Hong Kong which was returned to China after 100 years of English occupation. The director says Hong Kong is the fragments that are secretive, fragile, and distorted."
Phoebe Man, curator's notes, "Hong Kong Screeing: The Other," in the proceedings of EX!T 2010, Experimental Media Art Festival in Taiwan, Dec 2010, p. 24:
"Voices Seen, Images Heard is an alternative historiography written in the form of visual ethnography and travelogue. The director tries to write the history of Hong Kong with a variety of her collections including photos, paintings, movies, and newsreels, but these visual materials contrastingly distract our understanding about Hong Kong. The location of, a Hollywood movie which pictures Hong Kong people in a ridiculous manner, is not Hong Kong but Shanghai. Visual materials have great effect in understanding a country, but none of the visual materials about Hong Kong here show Hong Kong as it is. Maybe, being torn apart and scattered, those materials per se are the history of Hong Kong which was returned to China after 100 years of English occupation. The director says Hong Kong is the fragments that are secretive, fragile, and distorted."
"I Told Them My Camera was On" (2004-2005)
*Gina See-yuen Wong, “Global Feminisms in Feminist Art and their New Challenges”; a thesis submitted for the partial fulfillment of an MA in Comparative Literature & Cultural Studies, the University of Hong Kong, 2007. [half of a chapter devoted to this work, drawing a comparison between Lai's method and Judy Chicago's approach to art]
[Other Art Projects Reviewed]
"Push: the Quest for a Voice, In Search of a Body" 《「推」∶探尋嗓音、設置身體》(Offical Selection, Hong Kong Art Biennial 2003, Nov '03-Mar '04, Hong Kong):
《城大數碼創作獲藝術獎》, 文匯報 2004年1月17日 / [full report]
Report on 4 members of the School of Creative Media having their works selected for the Hong Kong Art Biennial 2003. Wen Wei Po (Chinese daily), January 17, 2004.
《城大师生数码作品显创意》，大公報 2004年2月1日 / [full report...]
"...黎肖娴及陈超敏的作品《推》是一项探索女性被压抑的声音的数码互动媒体装置。此外，《推》的参与者将面对网民浏览网站时的惯常动作———按「鼠」追踪：究竟应该寻找启动另一画面之匙，还是继续逗留，探究未被发掘的声音及旁白？有些人或会感到不耐烦，但肯停留、聆听及探求的用者则乐在其中，鼠标器亦不再只是按动画面的工具。..."
“Take a ST/Roll: Donut Fantasies” (2005, curated exhibition, Para/Site Art Space, Hong Kong)
Phoebe Man: “You Missed the Good Stuff – About Curating Exhibitions in Hong Kong”, PS – Hong Kong Visual Arts and Culture Magazine no. 27, Spring, 2006, pp. 94-101.
《你走漏眼,不全是籮底橙---談香港的策劃展》PS 視覺藝術文化雜誌，香港: Para/Site藝術空間，2006年春，27期，頁94-101。[read...]
"[Re-]Fabrication: Choi Yan-chi's 30 Years, paths of inter-disciplinarity"《又，物聚》（蔡仞姿的跨界创作三十年） (2006, research-based curatorial project, Para/Site Art Space, Hong Kong)
梁展峰: 《關於最近兩個展覽的胡扯》，獨立媒體2006年11月19日
LEUNG Chin-fung Jeff compared Linda Lai’s research-based curated show “[Re-]Fabrication” with two other recent shows. Inmedia, Nov 19, 2006 [read...]
Art Monthly, Issue 195, November 2006, Australia [read...]
"Writing Machine Collective, edition 3" (Curatorial project) as part of Digit@logue, Hong Kong Museum of Art, May-June, 2008:
Art iT, Japan (2008) [read review...]
ART BOOKS & CATALOGUES COLLECTED IN UNIVERSITY LIBRARIES
[Art book: conceptual exploration on photography and writing]
Crypto-glyph : dialogues in many tongues in the hidden crevices of an open city (bilingual) / Linda Lai, Theresa Mikuriya / 2004 / funded by the Philippe Charriol Foundation / 288 pages
<象文,文象 : 大街上兩張嘴吧在絮絮叨叨兩雙眼睛在找月光光> / 黎肖嫻, 陳超敏 / 2004 / 夏利豪藝術基金 / 288頁
Collected by university libraries in the following institutions:
[Hong Kong] Hong Kong Institute of Education, Hong Kong Baptist University, Lingnan University, the City University of Hong Kong, Chinese University of Hong Kong, Hong Kong University, Polytechnic University
[UK] Kent University Library http://kar.kent.ac.uk/1222/
[Taiwan] National Yunlin University of Science & Technology 雲林科技大學圖書館
[Art catalogue: research-based curatorial work and exhibition; HK Artists of the 1980s series]
[Re-]Fabrication: Choi Yan-chi’s 30 Years, Paths of Interdisciplinarity in Art (bi-lingual) / Linda Lai / 2007 / Para/site Art Space / funded by the Hong Kong Arts Development Council / 329 pages
<又，物聚 : 蔡仞姿跨媒介創作鍊歷的三十年> / 黎肖嫻 / 2007 / Para/Site, supported by the HK Arts Development Council 藝術空間出版 / 香港藝術發展局資助 / 329頁
Collected by university libraries in the following institutions:
[Hong Kong] Hong Kong Institute of Education, Hong Kong Baptist University, Lingnan University, the City University of Hong Kong, Chinese University of Hong Kong, Hong Kong University, Polytechnic University
[Art catalogue: Bilateral art exchange between Para/Site Art Space (Hong Kong) and The Substation (Singapore), funded by the HK ADC and the National Arts’ Council Singapore]
A matter of ownership: an exchange between Para/Site and the Substation [On Time] [On Space] / 我城我城：重塑空間、演說歷史 / Linda Lai (ed.) / 2005 / Para/site Art Space / funded by the Hong Kong Arts Development Council / 120 pages
Collected by university libraries in the following institutions:
[Hong Kong] Chinese University of Hong Kong, Hong Kong University
A. Works reviewed as part of book reviews in academic journals:
Scope, an online journal of film & tv studies, Institute of
Film & TV Studies, University of Nottingham.Issue 12, October 2008. [link to...]
Reviewed work: “Wither the Walker Goes…” in Zhang Zhen (ed.), The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century. Duke University Press, 2007.
The China Quarterly; Cambridge University Press. Issue 191, 2007: 773-774. [link to...]
Reviewed work: “Wither the Walker Goes…” in Zhang Zhen (ed.), The Urban Generation
Film Quarterly, Vol. 56, No. 4 (Summer, 2003), pp. 44-46.
Reviewed work: “Film and Enigmatization: Nostalgia, Nonsense, and Remembering” in At Full Speed: Hong Kong Cinema in a Borderless World in “Cinema and the Second Sex: Women's Filmmaking in France in the 1980s and 1990”s by Carrie Tarr; Brigitte Rollet
JUMP CUT, A REVIEW OF CONTEMPORARY MEDIA, ejumpcut.org. No. 45, fall 2002. [link to...]
Reviewed work: “Film and Enigmatization: Nostalgia, Nonsense, and Remembering” in Esther Yau (ed.), At Full Speed: Hong Kong Cinema in a Borderless World. University of Minnesota Press, 2001.
B. Citation in bibliographies and resource lists:
“A Selected Bibliography of Chinese Cinema,” Jerome Silbergeld, Wei Yang, Princeton University, Department of Art and Archaeology [working link...]
p. 26 Section: “Defining "China" in a Global Culture”
Cited: “Film and Enigmatization” in Yau, At Full Speed
p. 32 Section: Individual Directors – Stanley Kwan
Cited: “Interview with Stanley Kwan on Yang and Yin: Gender in Chinese Cinema,” Hong Kong: Urban Council, 1997
Modern Chinese Literature and Culture Resource Center at the Ohio State University: Media [link to...]
Works Cited:
"Whither the Walker Goes…" in Zhen Zhang, ed., The Urban Generation.
"Film and Enigmatization…" in Esther Yau, At Full Speed
C. Citation in scholarly books:
Between Home and World: A Reader in Hong Kong Cinema, University of Hong Kong [Quoted in study guide...]
Work cited: “Film and Enigmatization…”
Gina Marchetti, From Tian'anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997, 2006. Cited on pp. 245, 256, 281.
Work cited: “Film and Enigmatization…”
Jenny Lau, “Michael Hui and Cantonese Comedy,” in Poshek Fu, David Desser (eds.), The Cinema of Hong Kong: History, Arts, Identity, Cambridge University Press, 2000. Cited on pp. 161, 173.
Work cited: “The Hong Kong Cinema 1990 as (Post-)Colonial Resistance: Identity Politics and Subversive History Via Enigmatization” (conference paper version)
City on fire: Hong Kong cinema by Lisa Odham Stokes, Michael Hoover. Chapter 10 – ‘Whose Chinese Feast’, Verso, 1999. Cited on p. 355
Work cited: ‘Nostalgia and Nonsense: Two Instances of Commemorative Practices in Hong Kong Cinema in the Early 1990s’ in Fifty Years of Electric Shadows. Hong Kong: Urban Council, 1997.
Yingchi Chu, “Cultural Specificity of Quasi-National Cinema,” in Hong Kong cinema: coloniser, motherland and self. New York: RoutledgeCurzon, 2003. Cited on p. 66.
Work cited: “Nostalgia and Nonsense…”
Gina Marchetti, Andrew Lau and Alan Mak's Infernal affairs - the trilogy. Hong Kong: Hong Kong University Press, 2007. Cited on p. 188.
Work cited: “Film and Enigmatization…”
Leon Hunt, Kung Fu Cult Masters: from Bruce Lee to Crouching Tiger. London: Wallflower Press, 2003. Cited on p. 100.
Work cited: “Film and Enigmatization…”
Cindy Hing-yuk Wong and Gary W. McDonogh, “Consuming Cinema,” in Consuming Hong Kong by Gordon Mathews, Tai-Lok Lui (Dale Lü). Hong Kong University Press, 2001.
Work cited: “Nostalgia and Nonsense…”
Peiran Li, Anthony Y. H. Fung, Yingqian Feng (eds.), Media ideologies of gender in Hong Kong. 2006. Occasional paper n.172, Hong Kong Institute of Asia-Pacific Studies, Chinese University of Hong Kong.
Cited on p. 21.
Song Hwee Lim, Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas by. University of Hawaii Press, 2006. Cited on p. 220.
Work cited: “interview with Stanley Kwan…”
赵秀敏: 张爱玲电影剧作文本解读：边缘的现代性
Zhao Xiumin, “Zhang Ailing dianying juzuo wenben jiedu: bianyuan de xiandai xing” [a textual reading of Eileen Chang’s screenplay: marginal modernity”] / http://www.frostar.com/dy.htm
Work cited: “Literature and Film: Zhang Ailing in the Space of Intersection”
David Bordwell, Planet Hong Kong: Popular Cinema and the Art of Entertainment. Harvard University Press, 2000. Cited on p. 297.
Work Cited: “Nostalgia…”
Laikwan Pang, Day Wong, Masculinities and Hong Kong Cinema. Hong Kong University Press, 2005. Cited on pp. 293-4, 324.
Work cited: “Film and Enigmatization…”
Aruna Vasudev, Latika Padgaonkar, Rashmi Doraiswamy, Being & becoming, the cinemas of Asia. Macmillan Education, 2001. Cited on p. 119.
Work cited: “Nostalgia…”
Joseph Man Chan, Bryce Telfer McIntyre, In search of boundaries: communication, nation-states and cultural identities. Praeger, 2001. Cited on p. 288.
Work cited: conference paper
D. Citation in academic journal essays
"Law and Humor in Johnnie To's Justice, My Foot!: by Marco Wan, Cardozo Law Review, Volume 31, no. 4, April, 2010; 1313-28/ [link to...]
“Citizenship, Locality and Resistance” by Gary W. McDonogh, City & Society, Volume 9 Issue 1, 2008; 5 – 33. [link to...]
“Hong Kong and the Production of Art in the Post/colonial City” by Carolyn Cartier in China Information, Vol. 22, No. 2, 245-275 (2008). Cited on p. 272. [link to...]
“A Queer (Re)evaluation: Stanley Kwan and The Island Tales” by Jason Ho in Cultural Studies Monthlyno. 64, Jan 25, 2007 [link to...]
“The Future Was When: Art Criticism and the Comparative Tenses of Hong Kong and Singapore” by Weng-Choy Lee in Journal of Visual Culture 2007; 6; 343-9. Cited on p. 348. [link to...]
“The Politics of Historiography in Stephen Chow’s Kung Fu Hustle”by Kin-Yan Szeto in Jump Cut no. 49, spring 2007 [link to...]
“Kung Fu Hustle: Transnational production and the global Chinese-language film” by Christina Klein, Journal of Chinese Cinemas volume 1 Number 3, 2007; Intellect Ltd, Article. English language, doi: 10.1386/jcc.l.3.189/l
American anthropologist, volume 1, 2001; by American Anthropological Association, Anthropological Society of Washington (Washington, D.C.), American Ethnological Society. Cited on pp. 100, 110. [link to...]
Modern Chinese Literature, volume 10; by San Francisco State University. Center for the Study of Modern Chinese Literature, University of Colorado, Boulder. Dept. of Oriental Languages and Literatures. Cited on p. 229.
The Journal of Asian Studies, Volume 61, Issue 4, 2002; by Far Eastern Association (U.S.), Association for Asian Studies, JSTOR (Organization), Cambridge University Press. Online Journals. Cited on p. 1363. [link to...]
張耀仁∶從「茄喱啡」到「星爺」：周星馳＝小人物代言人？, 中華傳播學會2006年年會」學術研討會, July 2006 (paper presented at the Society for Chinese Communication Studies 2006 Annual Conference, Taiwan)
ZHANG, Xin-ying, “WANG Jing: the Synthesizer of the Hong Kong Commercial Films,” in Journal of Zaozhuang University 23(3), 2006; Zao Zhuang University, Shandong Province, China
张新英: 〈王晶:香港商业电影的集大成者〉, 枣庄学院学报23(3), 2006, 枣庄学院 [link to...]
E. Works cited in academic thesis:
National University of Taiwan – Research Institute for Musicology – Master’s thesis (2005)
〈節奏性的影像變化 —《花樣年華》中音樂與影像的互動關係〉by 游巧瑩, 臺灣大學 [link to...]
Tamkang University (Taipei), Department of Mass Communication – Master’s thesis (2007)
〈從「阿星」到「Stephen Chow」— 全球化下的喜劇之王〉, 賴曉君, 淡江大學
Hsiao-Chun Lai, ‘From〝A-Xing〞to〝Stephen Chow〞—The King of Comedy and Globalization’. [link to...]
National Central University (Taipei), Department of Chinese Literature – Master’s thesis (2004)
Pei-Hua Lee(李佩樺), “Abstract of Studies on Hong Kong Novelist Lilian Lee” (2004) 國立中央大學 [link to...]
Gina See-yuen Wong, “Global Feminisms in Feminist Art and their New Challenges”; a thesis submitted for the partial fulfillment of an MA in Comparative Literature & Cultural Studies, the University of Hong Kong, 2007. [half of a chapter devoted to Lai's visual ethnographic video I Told Them My Camera Was On (2005-05), drawing a comparison between Lai's method and Judy Chicago's approach to art]
On 'Critical Intermedia Laboratory':
封面故事·《Y世代 寻找创业新空间》, 文匯報 2008年6月29日
“创意媒体学院助理教授黎肖娴博士曾在接受本院毕业生的采访中针对「批判性多媒体实验室」（CIL）谈到了课程设计与社会适应方面的问题。…”
Cover story - report on the School of Creative Media’s Graduation Show, Wen Wei Po (Chinese daily), June 29, 2008.
Quote translated: “SCM’s Assistant Professor Dr. Linda Lai told the graduating students in an interview on issues of curriculum design and fitness for social environment via an explanation of the Critical Intermedia Laboratory’s philosophy…” Read full text: http://trans.wenweipo.com/gb/paper.wenweipo.com/2008/06/29/BH0806290002.htm