Henry Steiner’s Hong Kong

Speakers:
Christopher DeWolf
, Managing Editor, Zolima CityMag
Billy Potts, Writer and Designer

Moderator:
Daniel Elam, Assistant Professor, Department of Comparative Literature, HKU

Date: Tuesday, November 12, 2024
Time: 6:30 pm Hong Kong Time
Venue: Room 436, 4/F, Run Run Shaw Tower, HKU

When Henry Steiner moved to Hong Kong in 1961, it was only meant to be for nine months. More than 60 years later, he is the most important graphic designer in the city’s history. Henry Steiner’s Hong Kong, the first book in the new Zolimag Culture Guide series, explores the city through the lens of Steiner’s work, from the idea of East meets West, to the graphic identity of world-leading companies like HSBC, to Hong Kong icons like the Jockey Club, Hong Kong Land, Peak Tower, Ocean Terminal, Wellcome, Dairy Farm, Lane Crawford and more.

Christopher DeWolf has been writing about Hong Kong for nearly 20 years, earning a reputation as one of the city’s leading journalists on architecture, design, history and culture. The author of Borrowed Spaces: Life Between the Cracks of Modern Hong Kong (Penguin, 2017), DeWolf has been Zolima CityMag’s managing editor since its launch in 2015, and his award-winning work has also appeared in other magazines and books around the world including TIME, The Guardian, The Wall Street Journal, Good Beer Hunting and Spacing.

Billy Potts is a Hong Kong-born writer and designer whose work offers a unique perspective shaped by his lifelong immersion in the city’s cultural landscape. His writing for Zolima CityMag explores the city’s hidden stories and design heritage, including traditional crafts, calligraphy and more. Potts’ in-depth design and research study on defunct and abandoned signage, Hong Kong Ghost Signs, has been backed by both the Design Trust and Lord Wilson Heritage Trust. Through his design studio Handsome Co., Potts has worked on projects involving Hong Kong’s iconic trams, the classic Camel flask and other renowned local brands including Cathay Pacific, Ascot Chang, and more. Billy has a Chinese-English background and is fluent in English, Cantonese and Mandarin.

This event is co-organised by Center for the Study of Globalization and Cultures (CSGC), Department of Comparative Literature, and Zolima CityMag.

Glad to the Brink of Fear: A Portrait of Ralph Waldo Emerson

Speaker: James Marcus, Arthur L. Carter Journalism Institute, NYU

Moderator: Daniel Elam, Department of Comparative Literature, HKU

Date: Tuesday, November 12, 2024
Time: 10:00 am Hong Kong Time
Venue: On Zoom

More than two centuries after his birth, Ralph Waldo Emerson remains one of the presiding spirits in American culture. Yet his reputation as the starry-eyed prophet of self-reliance has obscured a much more complicated figure who spent a lifetime wrestling with injustice, philosophy, art, desire, and suffering. James Marcus introduces readers to this Emerson, a writer of self-interrogating genius whose visionary flights are always grounded in Yankee shrewdness.

James Marcus is the author of Glad to the Brink of Fear: A Portrait of Ralph Waldo Emerson (2024) and Amazonia: Five Years at the Epicenter of the Dot.Com Juggernaut (2004). He edited and introduced Second Read: Writers Look Back at Classic Works of Reportage (2010) and has translated seven books from the Italian, the most recent being Giacomo Casanova’s The Duel (2010). His essays and criticism have appeared in The New YorkerThe Times Literary SupplementThe NationVQRThe American ScholarThe Atlantic, and many other publications. He is also the former editor of Harper’s Magazine, and currently teaches at NYU’s Arthur L. Carter Journalism Institute.

Disturbing Proximities: Encounters with Animals in the Short Stories of Pu Songling and Edgar Allan Poe

Speaker: Jenny Chak, MPhil Candidate in Comparative Literature, HKU
Respondent: Caroline Levine, David and Kathleen Ryan Professor of Humanities, Cornell University
Moderator: Beth Harper, Department of Comparative Literature, HKU

Date: Tuesday, November 5, 2024
Time: 9:00 am Hong Kong Time
Venue: On Zoom

The past decade has witnessed a “darker” shift in ecocritical interests, with a growing body of works examining the more disturbing aspects of the interactions between human and nonhuman nature. This trend is particularly evident in the expanding body of research seeking to theorize concepts such as ecohorror, ecophobia, and ecogothic. These ongoing discussions offer a fresh and robust perspective for the cross-cultural analysis of the works of Pu Songling 蒲松齡 (1640-1715) and Edgar Allan Poe (1809-1849), two esteemed writers renowned for probing into the unsettling facets of human experience that intersect with ecological concerns.

This talk specifically focuses on how the works of Pu and Poe exhibit a provocative sensitivity towards nonhuman animals, deviating from the prevailing ideas of interspecies reciprocity during early Qing China and nineteenth-century America. Through close readings of selected stories, I argue that they lay bare the marginalization, exploitation, and oppression of animals that underpin the anthropocentric idealism of absolute harmony between species. I also investigate the parallels between the concept of the “strange” (guai 怪) in Chinese “tales of the strange” (zhiguai 志怪) and the Gothic tradition in the Western world, entangled with the two writers’ comparable explorations of a wider, inscrutable ecology existing beyond human dominion.

Jenny Wan Ying Chak is a final year MPhil student studying Comparative Literature at the University of Hong Kong. Her research interests include cross-cultural ecocriticism and Gothic theories, with a particular focus on the literary works of Pu Songling and Edgar Allan Poe in her current project.

Caroline Levine is David and Kathleen Ryan Professor of Humanities in the Department of Literatures in English at Cornell University. She is the author of The Activist Humanist: Form and Method in the Climate Crisis (Princeton University Press, 2023); Forms: Whole, Rhythm, Hierarchy, Network (Princeton University Press, 2015); The Serious Pleasures of Suspense: Victorian Realism and Narrative Doubt (2003) and Provoking Democracy: Why We Need the Arts (2007). She is the nineteenth-century editor for the Norton Anthology of World Literature.

Jing-you: The Genius of Lam Nin-tung’s Film Philosophy

Speaker: Victor Fan, Reader in Film and Media Philosophy, Department of Film Studies, King’s College London

Moderator: Jean Ma, Mr. and Mrs. Hung Hing-Ying Professor in the Arts, Department of Comparative Literature, HKU

Date: Tuesday, October 29, 2024
Time: 5:00 pm Hong Kong Time
Venue: Room 436, 4/F, Run Run Shaw Tower, HKU

Lam Nin-tung’s (林年同) ‘The Spatializing Consciousness of Chinese Cinema’ [中國電影的空間意識, 1983] has long been considered an article on the aesthetics specific to Chinese cinema. Published before the emergence of film philosophy as a field of study, Lam’s ambitious and truly original proposal to rethink the cinematographic image as a spatializing consciousness has been grossly overlooked by his peers. For Lam, even though the cinema is technologically and ideologically configured according to the European theory of perspective, Chinese filmmakers have long experimented with spatializing the relationship between the spectator’s body and the image, via the technē of camera perception, by layering views of reality onto a two-dimensional frame. In so doing, Lam sees the cinematographic image-consciousness as a process of jing-you (鏡游 or mirroring-journeying), one that challenges the anthropocentric understanding of cinematographic perception. His film philosophy, Fan argues, addresses the shortcomings of the binary notion of subject-object divide and deconstructs the relation between film semiotics and aesthetics.

Lam’s contribution to film philosophy does not stop at proposing a groundbreaking understanding of the cinematographic image as consciousness before and separately from European film phenomenology and Deleuze’s two cinema books. He also decolonizes film studies by building an episteme that puts into consideration Chinese film history, aesthetic debates, as well as Daoist and Buddhist philosophies. This talk is developed out of a collaborative project between Fan and Liu Siqi to translate Lam’s magnum opus into the English language. Through a line-by-line scrutiny of his writing, key concepts, as well as the archival and scholarly references he uses, they unearth and reconstruct Lam’s highly systematic method. In this talk, Fan discusses not only Lam’s philosophy itself but also the process of translation as epistemic reconstruction.

Victor Fan is Reader in Film and Media Philosophy at the Department of Film Studies, King’s College London and a film festival consultant. Fan graduated with a Ph.D. from Yale University and an MFA at School of Cinema-Television, University of Southern California. He is the author of Cinema Approaching Reality: Locating Chinese Film Theory (University of Minnesota Press, 2015), Extraterritoriality: Locating Hong Kong Cinema and Media (Edinburgh University Press, 2019), and Cinema Illuminating Reality: Media Philosophy through Buddhism (University of Minnesota Press, 2022). His articles have also been published in peer-review journals including World Picture Journal, Camera Obscura, Journal of Chinese Cinemas, Screen, Film History: An International Journal, and many other edited volumes. His film The Well was an official selection of the São Paolo International Film Festival; it was also screened at the Anthology Film Archives, the Japan Society and the George Eastman House.

Examining the Eurocentric Portrayals of the Chinese in Osbert Chadwick’s 1882 Reports on the Sanitary Condition of Hong Kong and Alternative Framings of Hong Kong’s Sanitation

Speaker: Lory Wong, PhD Candidate in Comparative Literature, HKU
Respondent: Cecilia L. Chu, School of Architecture, Chinese University of Hong Kong
Moderator: Dan Vukovich, Department of Comparative Literature, HKU

Date: Tuesday, October 22, 2024
Time: 5:00 pm Hong Kong Time
Venue: Room 1069, 10/F, Run Run Shaw Tower, HKU

The Colonial Sanitary Engineer, Osbert Chadwick’s 1882 Reports on the Sanitary Condition of Hong Kong is the first significant document on Hong Kong’s sanitary state. The reports prompted regulations to improve sanitary infrastructure and the creation of the Sanitary Board. As a result, many modern historical narratives have referenced Chadwick’s reports, with some magnifying its Eurocentric and classist perspectives associating the East and the poor as filthy, and the West as clean and modern.

This talk challenges the aforementioned Eurocentric and classist portrayals of the Chinese and Europeans in Chadwick’s reports by scrutinizing the internal contradictions in his document, before offering comparatively less biased perspectives of alternative archival sources which have been sidelined by modern historical narratives. The talk is based on a part of my PhD chapter examining the distorted lens in which many colonial officials viewed the Chinese, the spaces they occupied in the lead up to the 1894 plague, the outbreak itself, and the ways in which these perspectives guided the colonial government’s handling of Taipingshan. My doctoral thesis aims to challenge the popular traditional historiographical narratives of the 1894 plague in Hong Kong and offer alternative ways to understanding the event.

Lory Wong is a PhD Candidate in Comparative Literature at the University of Hong Kong. Her research interests include Hong Kong history, Hong Kong culture and literature, Postcolonial Studies, and the Medical Humanities.

Cecilia L. Chu is an Associate Professor and Director of the MPhil-PhD Programme in the School of Architecture at the Chinese University of Hong Kong. Trained as an urban historian with a background in design and conservation, her works focus on the social and cultural processes that shape the forms and meanings of built environments and their impacts on local communities. She is the authorofthe award-winning book, Building Colonial Hong Kong: Speculative Development and Segregation in the City, which received the 2023 Best Book in Non-North American Urban History Award from the Urban History Association and the 2024 International Planning History Society Book Prize. Her other book publications include The Speculative City: Emergent Forms and Norms of the Built Environment (2022) and Hong Kong Built Heritage (forthcoming 2025).

The Neighborhood: Space, State, and Daily Life in a Manchurian City

Speaker: Nianshen Song (宋念申), Professor at the Tsinghua Institute of Advanced Studies, Tsinghua University

Respondents:
Loretta Kim, Associate Professor and Head, School of Modern Languages and Culture, HKU
Ji Li, Associate Professor, School of Modern Languages and Cultures, HKU

Moderator: Daniel Vukovich, Professor and Chair, Department of Comparative Literature, HKU

Date: Friday, October 4, 2024
Time: 4:00 pm Hong Kong Time
Venue: Room 436, 4/F, Run Run Shaw Tower

This event will take the form of a seminar/discussion with Professor Nianshen Song (宋念申) of Tsinghua University (清華大學人文社會科學高等研究院), about his new book project, The Neighborhood: Space, State, and Daily Life in a Manchurian City. Select chapters will be sent to registered HKU participants. The discussion will be led by Professors Loretta Kim and Li Ji of HKU (SMLC), and moderated by Professor Dan Vukovich (SoH).

The Neighborhood is a nearly-400-year history of a small urban space, which examines the trans-regional political, religious, and economic forces that shaped and reshaped a frontier city and people’s life. Xita (West Stupa) is a thriving commercial neighborhood in Shenyang, the largest city in Northeast China. Its story began in 1643 when the Qing emperor erected a Tibetan-Buddhist stupa in the old city’s western suburb. During the Qing dynasty (1644-1912), Xita was a landmark of the political/spiritual alliance between the Manchu, Mongols, and Tibetans. In the early twentieth century, colonial powers (first Russia then Japan) and local warlords constructed competing railways that intersected in Xita, turning it into an urban center which manifested the intensified cross-continental geopolitical competition. During the Japanese colonial period, Xita was a symbol of Japan’s pan-Asianist empire, while it at the same time developed into one of the largest Korean diasporic enclaves in urban China. In the 1990s, when Shenyang, socialist China’s capital of heavy industry, turned into a “rust city,” Xita surprisingly flourished. Due to Korean investment and government propagation, it transformed into a peculiar consumerist and entertainment quarter in a largely de-industrialized metropolis. The story of Xita unfolds the nuanced interactions between state, people, and urban space in imperial, colonial, nationalist, socialist, and post-socialist contexts.

Nianshen Song is Professor at the Tsinghua Institute of Advanced Studies, affiliated with the Department of History, Tsinghua University. Before returning to Beijing in 2021, he taught at the University of Maryland, Baltimore County. His research and teaching focus on late imperial and modern China from global and regional perspectives, with special interests in China’s ethnic frontiers, East Asian trans-regional networks, historical geography, urban studies, and historical geography. He is the author of Making Borders in Modern East Asia: The Tumen River Demarcation, 1881–1919 (Cambridge University Press, 2018 and Zhizao Yazhou [制造亚洲 Mapping Asia] (Guilin: Guangxi Normal University Press, 2024). His journal articles have appeared in the American Historical Review, Journal of Asian Studies, Inner Asia, Geopolitics, Journal of Peking University (Philosophy and Social Science), and Kaifang shidai, among others.

This event is co-organised by the China, Humanities, and Global Studies (CHAGS) Cross-Faculty Research Hub and the Center for the Study of Globalization and Cultures (CSGC), Department of Comparative Literature, School of Humanities, Faculty of Arts, The University of Hong Kong.

Screening and Discussion of Self-Portrait: Dying at 47 KM with Director Zhang Mengqi

章夢奇《自畫像:47公里之死》放映暨映後談


Moderator: Jean Ma, Mr. and Mrs. Hung Hing-Ying Professor in the Arts, Department of Comparative Literature, HKU
Co-moderator: Yiping Lin, PhD Candidate, Department of Comparative Literature, HKU

Date: Monday, September 30, 2024
Time: 4:30 pm Hong Kong Time
Venue: Room 436, 4/F, Run Run Shaw Tower

The discussion will be conducted in English and Mandarin Chinese (with translation).

“Self-Portrait: Dying at 47 KM” is the fifth film of Zhang Mengqi’s “Self-Portraits” series made in her hometown village which she named 47KM, near Suizhou in Hubei Province. This year, her grandpa passed away. What does the village mean to her without her grandpa? She started to search for stories about death in the village: unnatural deaths in history, bizarre deaths in reality, and deaths fuelled by hatred … “In the mundane daily life accompanied by so many deaths,” she asks, “how should she understand death?”

Zhang Mengqi is a filmmaker and choreographer. She has participated in The Folk Memory Project since 2011 and has curated and co-organized the “Film for Mother” Festival since 2021. Zhang has made 11 feature-length documentaries known as the “Self-Portraits series”, a decade-long creative documentation about her hometown village near Suizhou City, Hubei Province. Her films have been selected by Cinéma du Réel, Visions du Réel, BFI London Film Festival, and the Museum of the Moving Image, and have won awards at the DMZ International Documentary Film Festival, Busan International Film Festival, and Yamagata International Documentary Film Festival, among others. Her choreographic work has been performed at the Foundation CULTURESCAPES (Switzerland), Rencontres chorégraphiques internationales de Seine-Saint-Denis (France), ImPuls Tanz (Vienna), and Eurokaz (Croatia).

導演自述:
這是我在「47公里」創作的第五部影片。這一年我的爺爺過世了,沒有了爺爺的村子對我代表什麼?因為爺爺的過世,我開始在村子裡尋找死亡故事。歷史中的非正常死亡、現實中離奇的死亡、由仇恨發酵的死亡……在這樣一個由無數「死亡」組成的日常生活中,我該如何來理解死亡?

章夢奇,紀錄片和劇場創作者。 自 2010 年起參與「民間記憶計劃」, 2021 年起策劃並聯合組織「母親影展」。章夢奇的「自畫像」系列紀錄片和劇場創作以其家鄉湖北省隨州市殷店鎮釣魚台村——「47公里」為基點,在探尋歷史與照亮現實之間持續長達13年的創作。

《自畫像》系列紀錄片作品曾多次入選法國真實電影節、瑞士尼翁真實電影節、BFI 倫敦電影節等;並獲得韓國 DMZ 紀錄片電影節國際最佳紀錄片白鵝獎 ,釜山國際電影節最佳紀錄片獎,西班牙 Punto de Vista 電影節最佳導演及觀眾選擇獎,山形國際紀錄片電影節國際競賽單元優秀獎等。「自畫像」系列劇場作品曾在瑞士 Foundation CULTURESCAPES 藝術節,法國青年舞蹈交流季,維也納 ImPuls Tanz 舞蹈節,克羅埃西亞 ZKM 青年劇場等國際戲劇舞蹈節演出。

Hong Kong, China, and New Orientalisms

fourth annual postgraduate student workshop CALL FOR ABSTRACTS

Please submit your abstract (up to 250 words) with a working title, a short bio, and your CV to conf.complit.hku@gmail.com by September 25, 2024.

The Department of Comparative Literature at the University of Hong Kong invites abstracts for participation in its fourth annual postgraduate student workshop:

Hong Kong, China, and New Orientalisms
14-16 November 2024 (Online)

Edward Said’s field-defining 1978 book, Orientalism, revealed how Western European scholarship on ‘the East’ created a homogenous and exotic world that legitimised Western European empires in the eighteenth and nineteenth centuries. Although Said focused specifically on orientalist scholarship – now called ‘area studies’, of the ‘Middle East’ and ‘South Asia’ – we may productively extend his insights to East Asia, and most notably, China.

Despite China’s status as a global power in the twenty-first century, orientalist discourses have often undermined its position in international relations. At the same time, China has relied on these same orientalist narratives to assert its autonomy and difference from ‘the West’. The persistent binary of ‘East’ and ‘West’, as well as the hierarchies it produces, has been an obstacle to transnational cooperation in the face of the most pressing global challenges: climate change, war, political instability, and the recent COVID-19 pandemic. Since the nineteenth century, Hong Kong has been the place where ‘the East’ and ‘the West’ – or more accurately, where the two sides of orientalist discourse – meet. Hong Kong has wrestled with its many hybrid identities, colonial histories, and questions of political belonging. Extending the insights of Said’s Orientalism while remaining attentive to significant cultural, political and historical differences, we seek to critically evaluate new orientalisms of the twenty-first century and their various effects in China and Hong Kong. ‘New orientalisms’ might refer to (but is not limited to):

–        Postcolonial orientalism
–        Anticolonial and decolonial orientalism
–        Urban orientalism
–        Epidemic orientalism
–        Medical orientalism
–        Tech orientalism
–        World literary orientalism
–        Environmental orientalism
–        Political orientalism
–        Legal orientalism
–        Media orientalism
–        Sports orientalism 
–        East Asian/Area Studies orientalism
–        Self-orientalism

We invite papers that engage with ‘new orientalisms’ (including new orientalisms not listed here) as well as papers that consider narratives beyond orientalism, critical area studies, and re-evaluations of Orientalism in the context of East Asia. 

The HKU Comparative Literature postgraduate workshop offers PhD and advanced MPhil students the chance to receive detailed feedback on their work in progress from their peers and senior faculty. The workshop is small (12-15 students) and the atmosphere is collegial. The three-day workshop is held over Zoom and we aim for geographical diversity.

The senior faculty respondents for the Fall 2024 workshop are:

Dan Vukovich 胡德 is Chairperson of the University of Hong Kong’s Comparative Literature department, and the Director of HKU’s China, Humanities, and Global Studies Research Hub. He is an inter-disciplinary scholar, trained in cultural studies and theory, and he specializes in colonialism/imperialism/politics in relation to the China-West problem.

Jini Kim Watson is Associate Professor in Postcolonial and Transpacific Literatures at the University of Melbourne. Her scholarship and teaching lie at the intersection of the following subfields: postcolonial literature and theory; decolonisation and the global Cold War in Asia; city literatures and the urban humanities; transpacific migration; and Marxism and critical theory. 

Marco Wan is Professor of Law and Director of the Programme in Law and Literary Studies at the University of Hong Kong. His research focuses on the intersections between law and the humanities, especially law and literature, law and film, and the ways in which perspectives from the humanities shed light on the legal regulation of gender and sexuality.

Please submit your abstract (up to 250 words) with a working title, a short bio, and your CV to conf.complit.hku@gmail.com by September 25, 2024. Selected participants will be notified of their acceptance by October 1 and should submit the full paper by October 30. There are no fees to attend the workshop.

The graduate workshop will be held on Zoom from November 14-16, 5-8 pm HKT. Papers will be circulated in advance among all the participants. Attendees are expected to read the papers of their panel before the workshop and give feedback during the panels.

If you have any queries, please kindly email Lory Wong (u3009336@connect.hku.hk) or J. Daniel Elam (jdelam@hku.hk).

Anxiety Aesthetics: Maoist Legacies in China, 1978-1985

Speaker:
Jennifer Dorothy Lee
, Associate Professor of East Asian Art, School of the Art Institute of Chicago

Respondent:
Angie C. Baecker, Research Assistant Professor, Department of Chinese History and Culture, The Hong Kong Polytechnic University

Moderator:
Alvin K. Wong, Assistant Professor, Department of Comparative Literature, HKU

Date: Monday, September 23, 2024
Time: 10:00 am Hong Kong Time
Venue: On Zoom

Excessive worry. Persistent unease. Disquiet. Torment. A brain disorder. Just another ordinary feeling. Based on Jennifer Dorothy Lee’s new book, this talk will address the competing connotations and nomenclatures of the anxiety in Anxiety Aesthetics in twentieth-century China. Arguing that anxiety offers a crucial frame for perceiving the specificities of both contemporaneity and creative practices in the wake of the Cultural Revolution, Lee hones in on the late 1970s and early 1980s, in particular, the Beijing Spring, as both a springboard and specific site for post-revolutionary transformations. How does anxiety inscribe art forms generated by socialist histories? How does anxiety, in turn, socialize art?

Jennifer Dorothy Lee is Associate Professor of East Asian Art at the School of the Art Institute of Chicago. Lee’s first book, Anxiety Aesthetics: Maoist Legacies in China, 1978-1985, was published in February 2024 by the University of California Press. Lee’s article on socialist abstraction and the painter Wu Guanzhong was also recently published in positions: asia critique. Lee’s next research project, tentatively titled Diasporic Longing, will take up a transnational cultural memoir of family, migrancy, and music across China, Taiwan, France, and the US from the 1940s-1970s.

Edward Lam on Eileen Chang and (the Disappearance of) Time

現在海枯石爛也很快

——劇場導演林奕華談張愛玲與時間(的消失)

分享嘉賓 Speaker: Mr. Edward LAM 林奕華

主持人 Moderator: Prof. Nicole HUANG 黃心村 (Dept. of Comparative Literature, HKU)

與談人Respondent: Prof. Pei-yin LIN 林姵吟 (School of Chinese, HKU)

日期時間 Date & Time: September 21, 2024 (Sat) 15:00-17:00pm
語言 Language: Putonghua 普通話 
地點 Venue: Rayson Huang Theatre, Main Campus, HKU 香港大學黃麗松講堂

摘要 Abstract:
都說張愛玲的小說最難映象化,林奕華卻六度把她的原著,轉化成劇場裏的《心經》(香港首部改編張愛玲舞台劇)、《兩女性》(《金鎖記/怨女》)、《華麗緣》、《張愛玲、請留言》、《半生緣》又是關錦鵬電影《紅玫瑰白玫瑰》的編劇。由文字到聲光與影畫,原來是林奕華在張愛玲身上找到靈感,又讓靈感回歸張愛玲的密碼所在:什麼是時間?

The eminent playwright and multimedia artist Edward Lam has adapted Eileen Chang’s fiction for both stage and screen six times, more than anyone in the Chinese-speaking world. From written words to light, shadows, and sounds, Lam’s adaption opens a path that leads to a uniquely profound way to decode Chang’s original texts.

講者簡介 About the Speaker:
林奕華  香港多媒介創作人。先後編導了「中國四大名著系列」,張艾嘉《華麗上班族之生活與生存》、《聊齋Why We Chat》、吳彥祖《快樂王子》、梁詠琪《大娛樂家》、劉若英《紅娘的異想世界之在西廂》,音樂劇《梁祝的繼承者們》。近作是改編楊德昌電影《一一》的《一一三部曲》,和《A.I時代的梁祝與繼承者們》。

Edward Lam founded Zuni Icosahedron with friends in the early 1980s and established Edward Lam Dance Theatre, where he serves as the artistic director, during his residence in London (1989-1995). Since returning to Hong Kong in 1995, he has devoted himself to theatre and directed more than 70 original productions. Lam was awarded Best Director at Shanghai theatre festival Modern Drama Valley’s One Drama Awards on several occasions, including for Men and Women, War and Peace (2010), The Doppelgänger (2012), and What is Sex? (2017), and was named Artist of the Year (Theatre) by the Hong Kong Arts Development Council in 2017. A firm believer in education, Lam has given lectures at The University of Hong Kong, the Academy of Film at Hong Kong Baptist University, and The Hong Kong Academy for Performing Arts. In 2015, he launched the first edition of ELDT On Screen, a cinematic showcase of four of his adaptations of literary classics. He has also published books of collected essays, including Waiting for Hong KongThe Meaning of EntertainmentEvil But GlamorousMy TV Dinner Years, and Leading Ladies in the Mandarin Cinema. In 2016, Taiwanese journal Performing Arts Review published Who is Afraid of Edward Lam, Hsu Yen-mei’s analysis of Lam’s stage productions from 2006 to 2015.

This event is held as part of the New Directions in Eileen Chang Studies Lecture Series |
張愛玲研究新方向講座系列 
Co-hosted by School of Chinese and Department of Comparative Literature, HKU
Co-sponsored by Louis Cha Fund for Chinese studies & East/West studies in the Faculty
& Center for the Study of Globalization and Cultures (CSGC)