Choi Sin-yi (Emilie) is a researcher, writer, and curator based in Hong Kong, and currently a PhD candidate at the School of Creative Media, City University of Hong Kong. Her work lies at the intersections of media studies, science and technology studies (STS), film and visual culture, and environmental humanities. Choi’s research critically engages with themes including oceanic and aquatic media and environments, digital infrastructures and commons, media aesthetics and AI, the history of moving image and media art, and cinephile culture and media networks in Cold War-era East Asia. Broadly, she is interested in the sociopolitical dimensions and sociotechnical imaginaries of digital media and visuality.
Taking an interdisciplinary approach, Choi’s doctoral project examines ocean sensing and the digital environment across Hong Kong, Taiwan, and South China, focusing on how environmental governance and knowledge production are shaped through both technical infrastructures and cinematic/artistic practices.
Choi’s writing has appeared in journals such as Modernism/modernity and Film Quarterly. She is co-editor of the forthcoming special issue “Post-2019 Hong Kong Cinema: Paradox and Polarization” in the Journal of Chinese Cinema, and is currently working on a forthcoming anthology on Hong Kong film. Her academic work has also been presented at international conferences including the Society for Cinema and Media Studies (SCMS) 2024 and 2025, the Association for Asian Studies (AAS) 2022, and the XXVIII Visible Evidence Conference (2022).
In addition to her academic pursuits, Choi writes art criticism, curates film programs and art exhibitions, and works as a documentary producer. She has presented her research at art and cultural institutions such as transmediale (Germany) and the EYE Filmmuseum (Netherlands), and serves on the boards of Videotage and Unlock Dancing Plaza. Choi has curated numerous film programs and visual arts exhibitions, including Jumping Frames – Hong Kong International Movement-image Festival; Hong Kong Retrospective Documentary Film Festival: From the 80s to 1997; Macao Experimental Cinema; Contact Zoning; and Nothing has Happened. She was also selected for the international programme such as Curatorial Program for Research 2023: (RE)PRESENTATION IN THE NORDICS.
蔡倩怡是居於香港的獨立研究者、寫作者與策展人，並為香港城市大學創意媒體學院的博士候選人，研究海洋在香港、台灣和南中國地區的感知系統和社會技術想像及互動，並藉以探索技術政治、環境知識生產及治理。其研究興趣圍繞媒體研究、科學與技術（STS）、電影與視覺文化，以及環境人文學。
她的研究在多個學術會議中發表，其研究文章被收錄於《《70年代雙週刊》：香港七十年代的社會運動和另類文化生產》（香港大學出版，2023）一書及Modernism/modernity Print Plus與Film Quarterly學術期刊。她亦曾研究香港六七十年代的實驗影像與文化冷戰的關係，以及亞洲當代紀錄片、錄像及新媒體藝術等。她過去曾於德國媒體藝術節transmediale、荷蘭電影博物館 EYE Filmmuseum 等機構發表研究。她曾策劃《香港紀錄片回顧展：從80年代到97》專題影展、《接觸地帶》及《什麼都沒有發生》展覽與身體展演等項目。她近年擔任香港跳格國際舞蹈影像節及澳門實驗影院的客席策展人。她亦獲選入「策展研究駐留計劃：再現北歐」計劃（2023）。現時她是錄映太奇及不加鎖舞踊館的董事。
