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Choi Sin-yi (Emilie) is a Hong Kong based researcher, writer and curator. She is pursuing PhD degree in School of Creative Media, City University of Hong Kong currently; and conducting research of Hong Kong media and cultural history through the 1970s to 1980s. She has obtained a MPhil degree in Academy of Visual Arts, Hong Kong Baptist University, researching on the socio-political history of Hong Kong experimental practices of moving image art in the late 1960s. Emilie’s research interests lie in the capacity of moving image studies in Asian and Hong Kong context, in particular documentary, alternative and independent cinema. She examines media, visual and cinematic practices in relation to contemporary critical theory, institutions and creative industry, digitality, media archaeology and community-making. She has presented in academic conferences including Association for Asian Studies 2022 Annual Conference and her papers are accepted by various academic journals which will be published soon. 

 

Emilie started her career as a cultural journalist, her writing in the form of criticism, features and interviews is now published extensively in media across Hong Kong, Taiwan and China. As a firm believer in the creation of publics and knowledge-mapping via public discourse and engagement, she has participated in a wide range of roles, including as board member of Videotage, a leading Hong Kong-based institution promoting video and new media art; member of the Floating Projects Collective, an independent experimental site of collaborative-individuated art practices; editor of Cinezen, a pan-Chinese film criticism online platform.

She has also curated various kinds of art and film programmes which celebrates research-based curation and offers a cross-border and insightful approach, such as Nothing has Happened (2021-2022), Performative Doc (2021), Hong Kong Retrospective Documentary Film Festival: From 80s to 1997 (2017) and Docuthon (2017). Her curatorial practices specialize in moving images and performative dimensions in black box, white cube, community and various spatial or virtual possibilities along the history and the contemporary. She is now working on various archival and research projects corresponding to her ongoing study with deliverables of academic output, public writing and curatorial engagement.