13 September 2021 Author/Host: Xie Heshen
LIU Hiu Ying Lillian is a PhD student in Transcultural Studies at the Institute of Transtextual and Transcultural Studies (IETT), France. She holds a B.A. in Applied Foreign Languages (French-English-Japanese) and an MPhil in Comparative Cultural Studies from Jean Moulin Lyon 3 University. Her research focuses on Post-colonial societies and Hong Kong cinema. She is also a freelance translator, and a short film curator at the Hong Kong Lesbian and Gay Film Festival.
Part One Hong Kong Lesbian and Gay Film Festival
The first section briefly introduces the history of Hong Kong Lesbian and Gay Film Festival (HKLGFF) and its future plans. It also discusses the challenges and new breakthroughs of the festival. Liu talks about how she got involved in the programming team of HKLGFF as well as her roles in the festival.
Part Two Lesbian and Transgender Representations
This section concerns the lesbian and transgender films in HKLGFF. It points out the criticism regarding the gay-oriented programming style of HKLGFF. The section discusses the significance of genre in increasing lesbian and transgender representations in Hong Kong market. Liu recommends three non-gay feature-length films, Close-Knit (Naoko Ogigami, 2017), Until Rainbow Dawn (Mika Imai, 2018) and Skate Kitchen (Crystal Moselle, 2018). These films were selected by HKLGFF respectively in 2017 and 2018.
Part Three Queer Short Films
The last section focuses on HKLGFF’s sections of queer short films. Sharing the experience of programming queer short films, Liu expresses her programming strategies and the standard. The section explores the specialities of queer short films. It also introduces Short Film Programme Jury Award and Best Short Film Audience Award. Liu recommends three queer short films, We are Dancers (Joe Morris, 2019, 30 mins), Drifting (Hanxiong Bao, 2020, 17mins), and Goodnight, Stargazer (Adrian Rudiman, 2020, 19 mins). All these films were shown at HKLGFF 2020.
About the author/host:
Heshen Xie is a PhD candidate in Film and Television Studies at University of Nottingham. His doctoral research explores the relationship between the Hong Kong Lesbian and Gay Film Festival and Hong Kong queer culture through the perspective of political economy. He holds an MA in Film Studies from King’s College London, and his work has appeared in Frames Cinema Journal.