Searching for tag: from-linda-lais-archive
![[solo-show postscript01] Unfolding Micro Narratives 翻開「微敘事」/ Linda Lai](https://fpchk.s3.ap-southeast-1.amazonaws.com/Still03_MN_Visualpoem_Linda_Lai_dry_Rain_4922c5aefd.jpg)
[solo-show postscript01] Unfolding Micro Narratives 翻開「微敘事」/ Linda Lai
Linda Lai pins down a brief on her nomenclature of "micro narraqtive" as an open, performative, umbrella concept to develop her theories of sight-and-sound in relation to historiographic experiments.
Linda Lai / Bruce Lee the kid on the street, teenage Nazi-fighters, a brave boy the only eye-witness 不再瓢街回歸祖國的細路祥，打走納粹軍的少年 ，謀殺案的唯一孩童證人
A follow-up on “[put away] the kid on the street” (2 August 2020), Linda Lai continues to examine how, in an apparently peaceful post-war moment of Hong Kong in May 1950, three local film distributor-exhibitors fought for audiences of movies named to be celebrating the Children’s Day, with very different ethos. 倫敦謀殺案的唯一孩童證人。這不是一般的電影分享或分析，透過跨文本的觀察，試圖理解電影在社會生活世界中與別的範疇可有的種種協作果效。港產《細路祥》（1950）、蘇聯兒童片《以身許國》（1948）、英國電影童星主演的《妒花風雨》（1948），成為太平盛世的香港慶祝兒童節的電影宣傳搶客戰。
\n![Linda Lai / [Put away] The Kid on the Street, a prototype in HK Cinema 街童上樓：大排檔、公屋，香港電影的民間典型](https://fpchk.s3.ap-southeast-1.amazonaws.com/Kid_duckling_2216577df7.jpg)
Linda Lai / [Put away] The Kid on the Street, a prototype in HK Cinema 街童上樓：大排檔、公屋，香港電影的民間典型
In the second of a series of field notes as short essays, Linda Lai continues to craft possible histories of Hong Kong’s everyday interiority through the lens of “intelligentsia” responses within the filmmaking community in the immediate post-WW2 years. 一連三篇由「細路祥」出發的第二篇：黎肖嫻繼續探討「細路祥」化身銀幕上，成為了甚麼樣的文化資本。小孩所牽連的是一張複雜的管治的權力網。
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Linda Lai / A-Chang the HK kid: Interpolating Education, Interpellating the Child 北方有三毛，南方有細路：1950 港產《細路祥》策問教育，召喚小孩
In a series of 3 articles, Linda Lai shares her field notes in film studies from a Cultural Studies perspective. The first discusses the kid A-Chang (1950), a HK counter-part of Shanghai’s Three Hairs 1940s. 有關香港「細路祥」三篇連載的第一篇，黎肖嫻潛進環繞苦難中的孩子的沈甸甸而充滿矛盾的論述。
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Linda Lai / 我從摩羅上街地攤找到10 冊的《三毛流浪記》連環畫 I picked up The Wanderings of Three Hairs the Waif on Upper Lascar Row
The first of a series of articles on children, comic characters, movies and so on, to explore how the “child” is often the subject and object of interpellation to augment instrumental reasons in population management. Linda Lai started with her research notes on Sanmao (Three Hairs), a kid, a comics character created for adults, who has been “resurrected” constantly since his “birth” in 1930s in Shanghai. 以孩子論說苦難，召喚善心的行動，是人口或國民管理常用的工具理性，也是進步思想的倡議的濃縮再現。其實孩子們都是怎樣長大的？我們都曾是孩子。我們是怎樣活過來的？
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One Take, many folds, a voice performing time 一鏡到底，萬千折叠，聲沉翻浪起
One Take, many iterations (2000-2020) One Take A digital video by Linda Lai Image & voice performance: Linda Lai Automatic writings generated by One Take – Polyphony 一天，突然好想逃離這個世界。 眼前的澳門文化中心斜流，六月晚晝和暖的陽光，水流淌散於橫紋石屎的肌理上再人工不過 。手不覺間在搖而沒有終止的意願，六分鐘的數碼錄像，在隨意不拘的弧線運轉之中以單鏡頭變化出蒙太奇和剪接的幻象。我盪得心也開了，破口處滲溢的，彷彿都是綿綿歲月的茵陳細碎瑣事。在快慢門和色溫光圈的不加思索變易下，涓流滑動的水精靈誘我領我尋索那已失散多年的音韻。大調元音、五度在捉迷藏。 我發聲，所以我存在。 有聲無韻。 至於我失去的是甚麼聲甚麼韻，我還在尋找。 One Take (originally in three parts) seeks to experiment the relation between image and sound by juxtaposing different soundscapes against the same set of […]
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