Choi Sin-yi (Emilie) is a researcher, writer, and curator based in Hong Kong. Her endeavors span academic research, art criticism, and curatorial initiatives. She is pursuing a doctorate at the School of Creative Media, City University of Hong Kong. Her doctoral research centers on the elemental and environmental dimensions of media technology by exploring the interplay of geological and sociotechnical imaginaries of water across Hong Kong, Taiwan, and South China. Her study scrutinizes the historical account and the myriad discourses entangled in the material-making and mediation processes of water, encompassing film and media artworks, architectural designs, government policies, major tech corporations, scientists, environmentalists, and emerging economies. The primary objective of her research is to prompt a reevaluation of the water crisis and its techno-biopolitical implications in the context of ecological and extractive politics while contributing to the broader scholarship on the symbiotic relationships between humans and nature in the realms of the posthuman, environmental media, and digital materialism.

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Choi’s research interests revolve around film and media studies, science and technology (STS), and environmental humanities, with a focus on critical infrastructure studies, environmental media, digital art and humanities, the history of media and technology, techno-biopolitics and the cinephile culture and media networks in East Asia during the Cold War era.

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Her academic contributions have been showcased at international conferences and symposiums, such as the Society for Cinema and Media Studies (SCMS) 2024 conference, the Association for Asian Studies (AAS) 2022, and the XXVIII Visible Evidence Conference (2022). Furthermore, Choi has authored a chapter in the book The 70s Bi-weekly: Autonomous Media, Social Activism and Alternative Cultural Production in 1970s Hong Kong (HKU Press, 2023) and a journal paper in the special issue of Global South Cinephilias on Modernism/modernity Print Plus (Apr 2024). She is also a co-editor of a forthcoming special issue, “Post-2019 Hong Kong Cinema: Paradox and Polarization,” in the Journal of Chinese Cinema. She is currently working on a forthcoming Hong Kong film anthology.

 

In addition to her academic work, she occasionally writes art criticism, curates film programs and art exhibitions, and works as a documentary producer. She has researched the experimental practices of moving images, the cultural Cold War in Hong Kong during the 1960s and 1970s, and contemporary documentary, video, and new media art within an Asian context. She has presented her research projects at notable institutions such as transmediale in Germany and the EYE Filmmuseum in the Netherlands. She also serves on the board of directors for Videotage and Unlock Dancing Plaza. She has also curated numerous film programmes and visual arts exhibitions, including Jumping Frames – Hong Kong International Movement-image Festival, Hong Kong Retrospective Documentary Film Festival: From the 80s to 1997 (Hong Kong Arts Development Council funded), Macao Experimental Cinema, Contact Zoning, and Nothing has Happened. She has been selected for the 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，研究水在香港、台灣和南中國地區的地質和社會技術想像及互動，並藉以探索技術政治與信息系統中的隱形網絡與環境影響。其研究興趣圍繞電影和媒體研究、科學與技術（STS）以及環境人文學，並專注於批判基建研究、生態媒介、數位藝術和人文學、媒體和科技史、技術生命政治以及冷戰時期東亞的迷影文化和媒體網絡。 

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。​​