Prof. Yee Lok TAM

Awards

• Award for Young Artist (Arts Criticism), Hong Kong Arts Development Awards 2014. Hong Kong Arts Development Council. April 2015.
• Champion in 2010 Creative Writing of Chinese Literature, Literary Criticism Section. Hong Kong Public Library. October 2010.

Books

• 2018. Enoch Yee-lok Tam, Vivian Lee, and Kenny Ng. Indiescape Hong Kong: Critical Essays and Interviews (香港獨立電影圖景：訪問評論集). Hong Kong: Typesetter. (ADC grant)

Peer-Reviewed Journal Articles

• 2025. Enoch Yee-lok Tam. ‘Hong Kong Social Issue Films: Socio-Economic and Mental Precarization.’ Journal of Chinese Cinema. Advance online publication.
• 2024. Enoch Yee-lok Tam. ‘Navigating Place, Space, and Land: Hong Kong Social Activist Documentary Film in the Era of Post-colonial Neoliberal Developmentalism.’ Screen 65(3): 1–21. https://doi.org/10.1093/screen/hjae027
• 2022. Enoch Yee-lok Tam. ‘Hong Kong Independent Political Documentary under the Regulating Dispositif: Inside the Red Brick Wall and Beyond.’ Asian Cinema 33(2): 177–189. https://doi.org/10.1386/ac_00054_1
• 2021. Enoch Yee-lok Tam. ‘Colourful Screens: Water Imaginaries in Documentaries from China and Taiwan.’ Interactions: Studies in Communication & Culture 2(2): 109–126. https://doi.org/10.1386/iscc.2.2.109_1
• 2015. Enoch Yee-lok Tam. ‘The Silver Star Group: A First Attempt at Theorizing Wenyi in the 1920s.’ Journal of Chinese Cinemas 9(1): 62–75. https://doi.org/10.1080/17508061.2014.994342

Journal Articles

• 2025. Enoch Yee-lok Tam. ‘Intellectual Activism in Postcolonial Hong Kong’s First Decade and a Half.’ Critical Asia Archive: Events and Theories.
• 2019. Enoch Yee-lok Tam. ‘A Turn to the Politics of Place in Hong Kong Independent Documentaries.’ Ex-position 42: 155–168. https://doi.org/10.6153/EXP.201912_(42).0010
• 2017. Enoch Yee-lok Tam. ‘A Hundred Years of Wenyi: Exploring the Development of Wenyi Film in Chinese-language Cinemas’ (華語文藝片的百年流轉). Film Art (電影藝術) 1: 9–14.
• 2013. Enoch Yee-lok Tam. ‘Hong Kong in McDull Film Series’ (麥兜系列電影中的香港). Journal of Beijing Film Academy (北京電影學院學報) 2.

Book Chapters

• Forthcoming (accepted). Enoch Yee-lok Tam. ‘Vie and its Originals in Southeast Asia: The Regionalisation of a Streaming Platform as an Interregional Contact Zone’. In Darrell William Davis, Michael Berry, Peichi Chung, Wesley Jacks, Wenchi Lin and Emilie Yueh-yu Yeh(Eds.), East Asian Media and Creative Industries: Policy, Performance and Survival. Edinburgh University Press.
• Forthcoming (accepted). Enoch Yee-lok Tam. ‘The Precarity of Homeless in Drifting: Dispossession, Disintegration, and Disposability.’ In Jessica Yeung, Kristof Van den Troost, Enoch Yee-lok Tam and Emilie Choi (Eds.), Hong Kong Low-Budget Production Films Since 2019. Brill.
• 2025. Enoch Yee-lok Tam. ‘Coming of Age of Hong Kong: Dung Kai-cheung’s Celestial Creations and the Works of Man: Vividness and Veracity.’ In Kiu-wai Chu, Andrea Riemenschnitter, and Mung-ting Chung (Eds.), Coming of Age in Chinese Literature and Cinema: Sinophone Variations of the Bildungsroman. Amsterdam University Press, pp. 127–146.
• 2024. Enoch Yee-lok Tam. ‘Personality and Morality in Screen Performance: Hong Kong Film Criticism and Social Reform of the 1920s.’ In Debashree Mukherjee, Zhang Zhen, Lee Sangjoon, and Intan Paramaditha (Eds.), Routledge Companion to Asian Cinemas. Routledge, pp. 365–376.
• 2024. Enoch Yee-lok Tam. ‘Precarious Lives through Stephen Chow’s Comic Lens: Speculation, Caricature and Precariat.’ In Gary Bettinson and Vivian P. Y. Lee (Eds.), The Cinema of Stephen Chow. Bloomsbury Academic, pp. 205–224.
• 2022. Enoch Yee-lok Tam. ‘The Wave that Dooms to be Overturned: Connection and Conflict between Hong Kong’s Cinema City and Taiwan New Cinema’ (注定靜止的波浪——香港新藝城和新電影的串連與衝突). In Song-hwee Lim (林松輝) and Sing Song-Yong (孫松榮) (Eds.), The Future of Time: Memos for 40 Years of Taiwan New Cinema (未來的光陰：給台灣新電影四十年的備忘錄). Taipei: Hide & Seek Audiovisual Art.
• 2019. Enoch Yee-lok Tam. ‘Recognition, Reinhabitation, and Recreation: Engaging Nature in Hong Kong Literature.’ In K. C. Lo and J. Yeung (Eds.), Chinese Shock of the Anthropocene: Image, Music and Text in the Age of Climate Change. Singapore: Palgrave, pp. 57–79.
• 2018. Emilie Yueh-yu Yeh and Enoch Yee-lok Tam. ‘Forming the Movie Field: Film Literati in Republican China.’ In Emilie Y. Y. Yeh (Ed.), Kaleidoscopic Histories: Early Film Culture in Hong Kong, Taiwan and Republican China. Ann Arbor: University of Michigan Press, pp. 244–276.
• 2018. Enoch Yee-lok Tam. ‘The Silver Star Group: A First Attempt at Theorizing Wenyi in the 1920s.’ In Emilie Y. Y. Yeh (Ed.), Kaleidoscopic Histories: Early Film Culture in Hong Kong, Taiwan and Republican China. Ann Arbor: University of Michigan Press, pp. 223–243.
• 2013. Enoch Yee-lok Tam. ‘Colourful Screens: Water Imaginaries in Documentaries from China and Taiwan.’ In Pietari Kääpä and Tommy Gustafsson (Eds.), Transnational Ecocinema: Film Culture in an Era of Ecological Transformation. Bristol: Intellect, pp. 47–64.

Edited Book

• Forthcoming (contracted). Jessica Yeung, Kristof Van den Troost, Enoch Yee-lok Tam, and Emilie Choi (Eds.). Hong Kong Low-Budget Production Films Since 2019. Brill.
• 2017. Enoch Yee-lok Tam and Cheung Tit-leung (Eds.). On Earth We Stand: Hong Kong Independent Film Festival, 2008–2017 (在地而立：香港獨立電影節 2008–2017). Hong Kong: Typesetter. DOI: https://typesetter.hk/onearthwestand/

Book Review

• 2021. Enoch Yee-lok Tam. ‘Imagining a City-Based Democracy: Review of The Appearing Demos: Hong Kong During and After the Umbrella Movement by Laikwan Pang.’ Global Storytelling: Journal of Digital and Moving Images 1(1). https://doi.org/10.3998/gs.853

Translation Projects

• 2022. Chinese translation of Platform Capitalism by Nick Srnicek.
• 2020. Chinese translation of Martial Arts Cinema and Hong Kong Modernity: Aesthetics, Representation, Circulation by Man-Fung Yip.
• 2016. Chinese translation of Tsai Ming-Liang and a Cinema of Slowness by Lim Song-hwee.
• 2016. English translation of Liu Wai-tong’s poems in Wandering Hong Kong with Spirits (co-translated with Desmond Sham).

Projects and Grants

• Early Career Scheme, Research Grants Council (01/2025–12/2026), HK$231,600
  Project reference no.: 23602424
  Project title: ‘Hong Kong Social Activist Documentary under Postcolonial Developmental Neoliberalism, 1997–2014’
• Faculty Research Grant, Faculty of Arts, Lingnan University (05/2024–04/2025), HK$24,400
  Project reference no.: 101993
  Project title: ‘The Rise of Chinese Web Films: Exploring Cultural Significance and Market Dynamics, 2014–2023’
• Direct Grant, Lingnan University (01/2023–12/2023), HK$70,000
  Project reference no.: DR23A8
  Project title: ‘Hong Kong Film Policy and Infrastructure Reforms since CEPA’
• Competitive Research Funds Scheme – Faculty Development Scheme (01/2021–12/2021), HK$512,969
  Project reference no.: UGC/FDS23/H04/20
  Project title: ‘Hong Kong Cinema in the Age of Precarity’

Teaching Experience

• Research Assistant Professor (FT, Jan 2022 –)
  Department of Visual Studies, Lingnan University
• Lecturer and Programme Director (FT, Sept 2016 – Dec 2021)
  Bachelor of Arts, Creative Writing for Film, Television and New Media
  Academy of Film, Hong Kong Baptist University
  Courses taught: Film and TV classics, Chinese literature, screenplay analysis, cinematic storytelling
• Lecturer (PT, Sept 2015 – Dec 2015)
  Academy of Film, Hong Kong Baptist University
  Courses taught: Film History, Introduction to Film and Media Art, Selected Reading in Chinese Literature
• Lecturer (PT, July 2015, summer school)
  Academy of Film, Hong Kong Baptist University
  Courses taught: Introduction to Film and Media Art
• Lecturer (PT, Sept 2014 – Dec 2014)
  Academy of Film, Hong Kong Baptist University
  Courses taught: Theories and Aesthetics of Film

Conference Presentations

• 2026.'The Politics of Counter-Archiving in the Age of Neoliberal Developmentalism in Hong Kong'. 2026 SCMS, Chicago, 26-29 March.
• 2025. ‘Social Media Influencer as Activist-Entrepreneur in Post-2019 Hong Kong’. International Conference on Platform and AI Society in Asia, Melbourne, 24-25 November.
• 2025. ‘Thanatopolitics of the Wasted Taiwan White Dolphin: From Biopolitical and Economic Hegemony to Socioecological Cohabitation.’ Inter-Asia Cultural Studies Conference, Nakhon Si Thammarat, Thailand, 23–25 July.
• 2025. ‘A Cartography of Cetaceans: Towards an Ocean-Oriented Ontology in Chien Yu-Chun’s Documentaries.’ 14th Asian Cinema Studies Society Conference, Hong Kong, 22–24 May.
• 2025. ‘The Rise of Chinese Web Films: Cultural Significance and Market Dynamics, 2014–2023.’ Association for Asian Studies (AAS), Columbus, 12–15 March.
• 2024. ‘The Semiotics of White Dolphin Precarity: Fantasizing Harmony, Wildlife Regeneration, and the Power of Suffering.’ Eco-Mobilities: Kinopolitics and Kinopoetics in the Anthropocene, Hong Kong, 28–29 November.
• 2024. ‘Exploitation and Censorship: The Influence of Hong Kong Cinema in China’s Internet Movies.’ AAS-in-Asia, Yogyakarta, 9–11 July.
• 2023. ‘Toward a Geopolitical Subjectivation: Reenactment of Three Geopolitical Moments in Blue Island.’ International Conference: The Work of Cinema in the Age of New World Order, Taichung, 6–7 October.
• 2023. ‘The Hong Kong Cinema of Precarity after 2014.’ Society for Hong Kong Studies Association Annual Conference, Hong Kong, 17 June.
• 2023. ‘Funding Bodies as Dispositif.’ Censorship and Creativity in Hong Kong Cinema, Hong Kong, 19 May.
• 2022. ‘The Precariousness of Creative Labour in Hong Kong Film and Media Industries.’ 10th Seminar for Hong Kong Culture and Society, Hong Kong, 5 November.
• 2022. ‘The Forgotten Sexy Bombs: The Nude Stars in Hong Kong Cinema of the 1970s.’ Forgotten Popular Culture: Asian Cinema and Film History, Leicester (virtual), 23–24 May.
• 2022. ‘The Sound Ecology in Hong Kong Ethnographic Documentaries.’ International Symposium on Cloud, Heat, Sea, Wind in the Light of Ecological Civilization, Hong Kong (virtual), 30 April.
• 2022. ‘Hong Kong Political Cinema Since 2014.’ Hong Kong Independent Cinema Workshop, London (virtual), 15 April.
• 2021. ‘Hong Kong Cinema in the Age of Precarity.’ Resistance and the Moving Image in Hong Kong, Hong Kong, 9 December.
• 2021. ‘Post-Umbrella Movement Films; or a New Political Cinema of Hong Kong.’ Hong Kong Uncharted Webinar Series, Singapore (virtual), 7 May.
• 2021. ‘Imagine a Cinema of Abjection: The Mutation of Communities in Fruit Chan’s “Prostitute Trilogy”’ (想像一種賤斥電影：陳果「妓女三部曲」之社群變異). Cultural Studies Annual Conference (2021文化研究學會), Taiwan (virtual), 6–7 March.
• 2020. ‘Three Ecologies in Hong Kong Independent Documentaries.’ Wind, Water, Cloud in China-related Spaces for the Anthropocene Cultural Imaginary, Hong Kong, 3 December.
• 2019. ‘Modernism in the Nuclear Era: Li Weiling’s Cosmopolitanism in Cold War Hong Kong Literature.’ AAS-in-Asia Conference, Bangkok, 1–4 July.
• 2019. ‘A Double Face of Lo Ting: Reimagine the Imagined Communities in The Mermaid and Three Husbands.’ 13th Asian Cinema Studies Society Conference, Singapore, 24–26 June.
• 2019. ‘The “Realist” Practices of Kuei Chih-Hung’ (桂治洪的「寫實」實踐). 4th Taiwan and Asia Film Histories International Conference (第四屆台灣與亞洲電影史國際研討會), Taiwan, 27–28 April.
• 2018. ‘Envisioning Hero-ism: Wenyi Biopic in Republican Cinema.’ KFLC – The Languages, Literatures and Cultures Conference, Kentucky, 19–21 April.
• 2017. ‘Coming of Age of a (Post)Colonial, Capitalist City: Reinvestigating Hong Kong Modernity through Dung Kai-cheung’s Trilogy.’ Coming of Age in Sinophone Studies International Workshop, University of Zurich, 23–26 March.
• 2016. ‘Revisit “Local” Fictions: Chan Koon Chung, Wong Bik Wan and Hon Lai Chu as Examples’ (再議「本土」小說︰以陳冠中、黃碧雲、韓麗珠為例). Conference on the Recent Two Decades’ Hong Kong Literature (「近二十年香港文學」學術研討會), Hong Kong, 16 January.
• 2015. ‘The Silver Star Group: A First Attempt at Theorizing Wenyi in the 1920s.’ International Association for Media and Communication Research (IAMCR), Montreal, 12–16 July.
• 2013. ‘Theorizing Wenyi in the 1920s: The Silver Star Group.’ Chinese Cinemas in the 21st Century: Production, Consumption, Imagination, Hsinchu, 16–18 December.
• 2013. ‘Post-nostalgic Capitalist City: Space and Time in McDull Film Series’ (後懷舊的資本主義城市︰麥兜系列電影中的時間空間學). Intercollege Postgraduate Symposium in Greater China (兩岸三地五院研究生研究會), Beijing, 4–5 July.
• 2013. ‘A Decolonial Project: The Evolution of Ann Hui’s Female Characters.’ 8th International Convention of Asia Scholars (ICAS 8), Macau, 24–27 June.
• 2013. ‘Cinematic Lyrical as a Method.’ Chinese-language Cinema: Text, Context and History, Hong Kong Baptist University, Hong Kong, 6–7 June.

Film Reviews

• 2024. ‘Ringo Lam: Peeping at Institutions, Desiring Violence’ (林嶺東：窺視體制，欲望暴力). Filmaholic (釀電影) 16.
• 2023. ‘How Far Can the Revival of Hong Kong Film Industry Go?’ (香港電影小陽春能走多遠？). In Hong Kong Cinema 2022. Hong Kong Film Critics Society.
• 2023. ‘I Kill You Because You Have Left Me: Slasher Movie Winnie the Pooh: Blood and Honey’ (殺你因為你離棄我：斬殺片《小熊維尼：血與蜜》). Mingpao, 26 March.
• 2023. ‘Everything Everywhere All at Once: Turning Hollywood Upside Down by an Asian Way’ (《奇異女俠玩救宇宙》：非常亞裔方式玩轉荷李活). Mingpao, 18 March.
• 2019. ‘Hong Kong Cinema Have Not Yet Died’ (香港電影之未死). Fountain (新活水) 13: 20–23.
• 2019. ‘Queer Space, Deconstruction of Lo Ting, Reconfirming Sexuality: Three Ways to Watch Fruit Chan’s Three Husbands’ (怪異空間、解構盧亭、重尋性慾——看陳果《三夫》的三條進路). In The 25th Hong Kong Film Critics Society Award Ceremony Programme Pamphlet, 7 March.

Fictional Works

• 2020. ‘Auntie Han's Modern Life’ and ‘The Mushroom Houses Proliferated in District M’ (translated from Chinese by Jeremy Tiang). In That We May Live: Speculative Chinese Fiction.
• 2017. Therefore I Sit Down and Listen to the Tales of H City Told by Bartender M (於是我坐下，聽調酒師M說關於H城的傳說). Collection of short stories. (ADC granted)
• 2011. The Happy Times of Blackeye (黑目的快樂年代). Novel. (ADC granted)