It is an unabashedly fond portrait of young people whom mainstream society has deemed “Bad Kids,” the Chinese title of the film. The bulk of the film consists of footage shot by the participants, with frequent intercuts of the popular media that the detainees draw on in multiple ways – for pleasure, engagement, identity formation, and social critique. 坏孩子 We Are Alive is a documentary that arose from video workshops Yau conducted at three juvenile detention facilities, in Hong Kong, Macau, and Sapporo, Japan. “What do you have?” Yau creates several stand-out scenes involving paper, fortune cookies, and eating. The ghost, appropriately pale, always greets her human lover with the eagerness of one who cannot leave the building she haunts. We see brief shots of the woman out and about on the streets of New York City, her attire suggesting a white-collar job. The short 我饿 I’m Starving, made on a negligible budget in 1999 when Yau Ching was studying in New York, is an evocative tale of a relationship between an African-American woman and a Chinese female ghost. On June 8, 2013, I attended the first of four screenings of her work this month at the New York City LGBT Center, which paired a short narrative film with a documentary. 游静 Yau Ching’s professional trajectory interweaves multiple threads – the aesthetic and technical components of filmmaking, critical scholarship in cultural studies, educational advocacy, and other queer activism.
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