Yau Ching

Yau Ching is an independent film/videomaker who has made more than ten films and videos, including We Are Alive (Asia Vision Award, Taiwan International Documentary Biennial), Ho Yuk (Let’s Love Hong Kong) (Critics’ Grand Prix for Fiction, Figueira da Foz International Film Festival, Portugal), I’m Starving (Silver Prize, Brno16 Film Festival, Czech Republic), Diasporama: Dead Air (Silver Award, Hong Kong Independent Film and Video Awards), The Ideal/Na(rra)tion (Best 20, International Video Art Prize, Germany), Flow (Special Jury Prize, Image Forum, Japan), and Video Letters 1-3, Is There Anything Specific You Want To Tell Me? (Cindy Film Bronze Award), and has received grants including Rockefeller Humanities Fellowship, Asian Cultural Council Arts Fellowship, New York Foundation for the Arts Fellowship, and Japan Foundation Artist-in-residence grant, among others.

Born in Hong Kong in 1966, Yau Ching received her BA in Comparative Literature from the University of Hong Kong, MA in Media Studies from The New School for Social Research in New York, PhD in Media Arts from Royal Holloway College, University of London, and studied Studio Art at Whitney Independent Study Program in New York. Her media installations have been exhibited at Hokkaido Museum of Modern Art, Japan, Young-un Museum of Contemporary Art, Seoul and New York Brooklyn Bridge Anchorage, among others. Currently Associate Professor in Cultural Studies at Hong Kong Lingnan University, she has written six books including Filming Margins: Tang Shu Shuen, a Forgotten Hong Kong Woman Director (Hong Kong: Hong Kong University Press, 2004) (in English), Sexing Shadows: a study of representation of gender and sexuality in Hong Kong Cinema (Hong Kong Film Critics Society, 2005) (in Chinese), The Impossible Home (Hong Kong: Youth Literary Press, 2000) (bilingual) which received the Runner-Up Prize from the Chinese Literary Biennial. She has also edited As Normal as Possible: Negotiating Sexuality and Gender In Mainland China and Hong Kong (Hong Kong University Press, 2010) (in English) and Sexual Politics (Hong Kong Cosmos Books, 2006) (in Chinese). She is a founding member of Nutong Xueshe, a LBGTIQ organization for cultural advocacy and public education, and serves as Executive Board Member for Midnight Blue, a male sex workers’ support network in China and Hong Kong.

Artist Code: 325


We Are Alive

2013, 101:00 minutes, colour/B&W, Cantonese and Japanese with English subtitles

Ho Yuk (Let’s Love Hong Kong)

2002, 87:00 minutes, colour, Cantonese w/ Chinese and English Subtitles

Suet-Sin's Sisters

2000, 08:00 minutes, colour, English

I’m Starving

1999, 13:00 minutes, colour

June 30, 1997 (AKA Celebrate What?)

1997, 07:30 minutes, colour, Cantonese with English subtitles

Diasporama (Part 1): Dead Air

1997, 87:00 minutes, colour, English

Video Letter #3, Why would a letter have a title?

1993, 05:40 minutes, colour, English

Video Letter #2 or, Call Me an Essentialist

1993, 03:40 minutes, colour, English & Cantonese

Video Letter #1

1993, 02:00 minutes, colour/B&W, english

The Ideal / Na(rra)tion

1993, 03:40 minutes, colour


1993, 38:40 minutes, colour/B&W

Is There Anything Specific You Want Me to Tell You About?

1991, 12:00 minutes, colour, English/Cantonese

Critical Writing

The Ground Beneath Her Feet: Fault Lines of Nation and Sensation...
by Olivia Khoo. GLQ: A Journal of Lesbian and Gay Studies, 2007, v. 14, no. 1.
Images fest has a thing for sex
by Cameron Bailey. Now, Apr. 22, 1999, v. 18, no. 34.
Can I Have MSG, an Egg Roll to Suck on and Asian American Media on...
by Yau Ching. Fuse, Winter 1997, v. 20, no. 1.
by Alice Ming Wai Jim. Fuse, Aug. 1997, v. 20, no. 4.
Non-Yankee Go Home
by Catherine Hnatov. RhythmMusic, Sept. 1996.
by Holly Willis. Los Angeles Reader, Apr. 12, 1996.
Art In The Anchorage '96: The Brooklyn Bridge Anchorage
by Michelle Tirado. New Art Examiner, Oct. 1996.
Polar Recap
by Ann Kaneko. Afterimage, Nov. 1994, v. 22, no. 4.