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\u6559\u5e2b\u59d3\u540d \u674e\u660e\u5b87<\/li>\n
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\u500b\u4eba\u7db2\u9801 http:\/\/leemingyu0912.wixsite.com\/mingyulee , http:\/\/www.imdb.com\/name\/nm3415766\/<\/li>\n
\u8fa6\u516c\u3000\u5ba4 S607 <\/li>\n
\u806f\u7d61\u96fb\u8a71 22368225\u8f4983207<\/li>\n
\u96fb\u5b50\u90f5\u4ef6 mylee@mail.shu.edu.tw<\/li> \n<\/ul>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div>
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2018\/10\/13 \u6587\u5316\u90e8\uff0f\u9ad8\u96c4\u5e02\u65d7\u5c71\u5c0a\u61f7\u6d3b\u6c34\u4eba\u6587\u5354\u6703\uff0f\u53f0\u9752\u8549\u5275\u610f\u5de5\u574a\u300c\u4e00\u5834\u770b\/\u88fd\u96fb\u5f71\u7684\u516c\u6c11\u884c\u52d5_\u95d4\u5bb6\u5149\u81e8\u5f71\u50cf\u4ea4\u63db\u6240\u300d\u8a08\u756b\u7cfb\u5217\u8b1b\u5ea7\uff0d\u300c\u5f71\u50cf\u2027\u6587\u5b78\uff0d\u65e5\u8a18\u96fb\u5f71\u7684\u500b\u4eba\u8207\u793e\u6703\u300d\u8b1b\u5ea7\u8b1b\u5e2b\u3002<\/li>\n
2017 \u2013 BAFTSS\u82f1\u570b\u96fb\u5f71\u3001\u96fb\u8996\u53ca\u9280\u5e55\u7814\u7a76\u5354\u6703\uff0d\u300c\u6563\u6587\u96fb\u5f71\u7814\u7a76\u5b78\u6703\u300d\u6210\u54e1\uff08Essay Film Research group member\uff09\u3002<\/li>\n
2017\/11 \u2013 12 \u570b\u7acb\u6771\u83ef\u5927\u5b78\u4eba\u6587\u793e\u6703\u5b78\u9662\u5fae\u8ab2\u7a0b\u300c\u65e5\u8a18\u96fb\u5f71\u88fd\u4f5c\u5de5\u4f5c\u574a\u300d\u6388\u8ab2\u6559\u5e2b\u3002<\/li>\n
2016\/11 \u7b2c\u4e03\u5c46\u53f0\u7063\u570b\u969b\u5be6\u9a57\u5a92\u9ad4\u85dd\u8853\u5c55\uff08EX!T 7\uff09\uff0d\u300c\u65e5\u8a18\u96fb\u5f71\u5f71\u5c55\uff1a\u65e5\u5e38\u5728\u7576\u4e0b\u300d\u7b56\u5c55\u4eba\u3002<\/li>\n
2021\/11 \u7b2c\u5341\u4e00\u5c46\u53f0\u7063\u570b\u969b\u5be6\u9a57\u5a92\u9ad4\u85dd\u8853\u5c55\uff08EX!T 11\uff09\uff0d\u300c\u8fce\u5411\u7a81\u8b8a\u7684\u7576\u4ee3\uff0d\u5be6\u9a57\u96fb\u5f71\u7684\u6b77\u53f2\u8b8a\u8eab\u8207\u56de\u8072\uff0d\u66f8\u4fe1\u96fb\u5f71\uff1a\u5c0d\u4f4d\u8207\u56de\u97f3\u300d\u7b56\u5c55\u4eba\u3002<\/li>\n<\/ul>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t
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\u671f\u520a\u8ad6\u6587\uff1a<\/span><\/strong><\/p>\n
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\u200b2021\uff08\u6c11110.12\uff09\u2018The Parenthetical Voice-over: Dialectical Audiovisual Structure in Hollis Frampton\u2019s\u00a0(nostalgia)\u00a0and Jonas Mekas\u2019s\u00a0The Song of Avila\u2019,\u00a0The Wenshan Review of Literature and Culture, Vol. 15.1, pp.235-267 \uff08THCI\u4e00\u7d1a\u6838\u5fc3\u520a\u7269\uff09<\/li>\n
2021\uff08\u6c11110.04\uff09\u3008\u901f\u5beb\u524d\u885b\uff1a\u7d04\u62ff\u65af\u30fb\u6885\u5361\u65af\uff08Jonas Mekas\uff09\u7684\u65e5\u8a18\u96fb\u5f71\u3009\uff0c\u300a\u653e\u6620\u9031\u5831\u300b\u7b2c690 \u671f\u3002<\/li>\n
2020\uff08\u6c11109.09\uff09\u2018Re-Discovering Liu Na\u2019Ou and His\u00a0Man with a Camera: Authorial I, Written Diary, and Cinematic Writing\u2019,\u00a0Concentric: Literary and Cultural Studies, 46.2, pp.195\uff08THCI Core\u6838\u5fc3\u520a\u7269\uff09<\/li>\n
2019\uff08\u6c11108.12\uff09\u2018Correspondence: Lee Ming-Yu\/Laura Rascaroli\u2019,\u00a0La Valle dell\u2019Eden: Semestrale di cinema e audiovisivi, Vol. 35, pp.123-131.<\/li>\n
2018\uff08\u6c11107.04\uff09\u2018Film-Letter: The Beginning, Exchanging and the Narration in Jonas Mekas and Luis Guer\u00edn\u2019s\u00a0Correspondence\u2019,\u00a0AM Journal of Art and Media Studies, Vol.15, pp.127-133.<\/li>\n
2018\uff08\u6c11107.01\uff09\u3008\u6301\u651d\u5f71\u6a5f\u7684\u4eba\u5011\uff0c\u5c0d\u751f\u6d3b\u7684\u518d\u767c\u73fe\uff1a\u5f9e\u5289\u5436\u9dd7\u3001\u9127\u5357\u5149\u3001\u9673\u8000\u573b\uff0c\u4f86\u8ac7\u65e5\u8a18\u96fb\u5f71\u7684\u5275\u4f5c\u3009\uff0c\u300a\u570b\u5f71\u672c\u4e8b\u300b\u7b2c\u4e03\u671f\u3002<\/li>\n
2017\uff08\u6c11106.12\uff09\u3008\u5341\u56db\u5e74\u4e4b\u5f8c\uff1a\u6211\u7684\u8001\u5e2b\u66fe\u73cd\u73cd\u3009\uff0c\u300a\u4eba\u793e\u6771\u83ef\u300b\u7b2c16\u671f\u3002<\/li>\n
2017\uff08\u6c11106.03\uff09\u3008\u300c2016\u53f0\u5317\u96d9\u5e74\u5c55\u300d\u96a8\u7b46\uff1a\u5c0d\u65bc\u6a94\u6848\u53ca\u8cc7\u6599\u5eab\u7684\u7ffb\u8b6f\u8207\u8a6e\u91cb\u3009\uff0c\u300a\u73fe\u4ee3\u7f8e\u8853\u300b\uff0c184\uff0c\u980128-35\u3002<\/li>\n
\u200b2017\uff08\u6c11106.03\uff09\u3008\u5f9e\u7d00\u9304\u5230\u6558\u4e8b \uff0d\u96fb\u5f71\u526a\u63a5\u8d77\u6e90\u8207\u767c\u5c55\u3009\uff0c\u300a\u79d1\u5b78\u6708\u520a\u300b\uff0c\u7b2c48\u5377\uff0c567\u671f\uff083\u6708\u865f\uff09\uff0c\u9801212-215\u3002<\/li>\n
2005\uff08\u6c1194.11\uff09\u3008\u5730\u4e0b\u96fb\u5f71\u7684\u7368\u7acb\u5275\u4f5c\u7cbe\u795e\uff1a \u745e\u58eb\u6d1b\u6851\u5730\u4e0b\u96fb\u5f71\u8207\u97f3\u6a02\u7bc0\u3009\uff0c\u300a\u96fb\u5f71\u6b23\u8cde\u300b\uff0c\u7b2c125\u671f\uff0c\u53f0\u5317\uff1a\u570b\u5bb6\u96fb\u5f71\u8cc7\u6599\u9928\uff0c\u980192-94\u3002<\/li>\n<\/ul>\n
\u5c08\u66f8\u53ca\u5c08\u66f8\u8ad6\u6587\uff1a<\/strong><\/span><\/p>\n
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\u200b2022\uff08\u6c11111.10\uff09\u300a\u788e\u8a9e\u7247\u8a00\u017dod\u017eiai ir raid\u0117s\u300b\uff08\u4e3b\u7de8\u3002Jonas Mekas\u8457\uff0c\u767d\u82f1\u854a\u8b6f\u3002\u53f0\u5317\uff1a\u6046\u6cb3\u51fa\u7248\u3002ISBN:9789869221931\uff09<\/li>\n
\u200b2022\uff08\u6c11111.01\uff09Crossing Cinema: the Diary Film, the Essay Film, and the Voice of I. Taipei: Bookman Books\uff08\u66f8\u6797\u51fa\u7248\uff0cISBN: 978-957-445-974-2\uff09<\/li>\n
2022\uff08\u6c11111.01\uff09\u3008\u5bb6\u5ead\u96fb\u5f71\u4f5c\u70ba\u4e00\u7a2e\u6558\u8ff0\u7b56\u7565\u3009\uff0c\u300a\u63a8\u9032\u96fb\u5f71\u7814\u7a761\uff1a\u7570\u96dc\u8207\u6c42\u7cbe\u300b\uff08\u53f0\u5317\uff1a\u8d64\u9053\u51fa\u7248\uff0cISBN\uff1a9789869221924\uff09\uff0c\u9801211-241\u3002<\/li>\n
2017\uff08\u6c11106.06\uff09\u2018Lisbonne Autobiographique\u2019,\u00a0Vu d\u2019apr\u00e8s\u00a0(ISBN: 9791069901797). Paris, pp.66-67.<\/li>\n
2016\uff08\u6c11105.12\uff09\u300a\u53f0\u7063\u3001\u8de8\u570b\u8207\u81ea\u6211\u7684\u4e3b\u9ad4\uff1a\u65e5\u8a18\u96fb\u5f71\u7814\u7a76\u300b\uff08\u4e3b\u7de8\u3002\u53f0\u5317\uff1a\u6046\u6cb3\u51fa\u7248\u3002ISBN 9789869024228\uff09\u3002<\/li>\n
2016\uff08\u6c11105.12\uff09\u3008\u65e5\u8a18\u96fb\u5f71\u4e2d\u6c34\u5e73\u8499\u592a\u5947\u3001\u62ec\u865f\u7d50\u69cb\u8207\u8072\u97f3\u9593\u9699\u7684\u7f8e\u5b78\u53ef\u80fd\uff1a\u5206\u6790\u74ca\u7d0d\u65af\u2027\u7c73\u958b\u65af\u7684\u300a\u963f\u7dad\u62c9\u4e4b\u6b4c\u300b\uff08The Song of Avila\uff09\u3009\uff0c\u300a\u53f0\u7063\u3001\u8de8\u570b\u8207\u81ea\u6211\u7684\u4e3b\u984c\uff1a\u65e5\u8a18\u96fb\u5f71\u7814\u7a76\u300b\uff0c\u9801201-213\u3002<\/li>\n
2016\uff08\u6c11105.12\uff09\u3008\u901a\u4fe1\uff1a\u674e\u660e\u5b87\uff0f\u863f\u62c9\u2027\u62c9\u65af\u5361\u863f\u8389\uff08Laura Rascaroli\uff09\u3009\uff0c\u300a\u53f0\u7063\u3001\u8de8\u570b\u8207\u81ea\u6211\u7684\u4e3b\u984c\uff1a\u65e5\u8a18\u96fb\u5f71\u7814\u7a76\u300b\uff0c\u9801145-164\u3002<\/li>\n
2013\uff08\u6c11102.11\uff09\u3008\u5be6\u9a57\u96fb\u5f71\u8207\u65e5\u8a18\u96fb\u5f71\u3009\uff0c\u300a\u6bd4\u53f0\u7063\u96fb\u5f71\u66f4\u964c\u751f\u2014\u53f0\u7063\u5be6\u9a57\u96fb\u5f71\u7814\u7a76\u300b\uff08\u5433\u4fca\u8f1d\u7de8\u8457\u3002\u53f0\u5317\uff1a\u6046\u6cb3\u51fa\u7248\u793e\u3002ISBN\uff1a9789869024204\uff09\uff0c\u9801135-148\u3002<\/li>\n
2010\uff08\u6c1199.10\uff09\u300a\u9006\u884c\u98a8\u666f\u300b\uff08\u53f0\u5317\uff1a\u9017\u9ede\u6587\u5275\u7d50\u793e\u3002ISBN\uff1a978 986 8632134\uff09\u3002<\/li>\n<\/ul>\n
\u7814\u8a0e\u6703\u8ad6\u6587\uff1a<\/strong><\/span><\/p>\n
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2025\uff08\u6c11114.06\uff09\u2018The Strike Back of the Synthetic Human: Yoichiro Serizawa\u2019s Rehabilitation of Synthetic Human<\/em> (2022)\u2019, Screen Studies Conference 2025, University of Glasgow, UK.<\/li>\n
2025\uff08\u6c11114.03\uff09\u2018Selfies, Performance, and the Idea of the Self in G\u00e9rard Courant\u2019s Cin\u00e9maton\u2019<\/em>, BAFTSS Conference 2025: Global Aesthetics, University of Warwick, UK. \uff08\u672c\u8ad6\u6587\u70ba\u300c\u570b\u79d1\u6703\u5c08\u984c\u7814\u7a76\u8a08\u756b\uff0d\u81ea\u756b\u50cf\u96fb\u5f71\u7814\u7a76II\uff1a\u8868\u6f14\u8207\u5dee\u7570\u300d\u6210\u679c\uff09\u3002<\/li>\n
2025\uff08\u6c11114.03\uff09\u3008\u6230\u722d\u8207\u74e6\u792b\u4e0b\u7684\u56de\u61b6\uff1a\u74ca\u7d0d\u65af\uff0e\u7c73\u958b\u65af\u7684\u300a\u8ffd\u61b6\u5fb7\u570b\u4e4b\u65c5\u300b\u3009\uff0c\u300c2025\u7576\u4ee3\u5a92\u4ecb\u8207\u5f71\u50cf\u8ad6\u58c7 \u2013 \u6230\u722d\u3001\u908a\u7de3\u653f\u6cbb\u8207\u548c\u5e73\u8f49\u6a5f\u7814\u7a76\u8207\u5275\u4f5c\u5b78\u8853\u7814\u8a0e\u6703\u300d\uff0c\u4e16\u65b0\u5927\u5b78\u3002<\/li>\n
2024\uff08\u6c11113.07\uff09\u2018Summoning Each Other\u2019s Absence: The Collaborative Narrative Strategy in the Letter-Films\u2019, Times In-Between 2024, Gorizia, Italy.\uff08\u672c\u8ad6\u6587\u70ba\u300c\u570b\u79d1\u6703\u5c08\u984c\u7814\u7a76\u8a08\u756b\uff0d\u66f8\u4fe1\u96fb\u5f71\u7814\u7a76\uff1a\u53ec\u559a\u8207\u63a5\u6536\u300d\u6210\u679c\uff09\u3002<\/li>\n
2024\uff08\u6c11113.05\uff09\u3008\u8d85\u8d8a\u7586\u754c\uff1a\u75c5\u6bd2\u3001\u66f8\u4fe1\u53ca\u96fb\u5f71\u3009\uff0c\u300c2024\u7576\u4ee3\u5a92\u4ecb\u8207\u5f71\u50cf\u8ad6\u58c7 \u2013 \u5a92\u4ecb\u5f71\u8996\u7814\u7a76\u8207\u5275\u4f5c\u300d\u5b78\u8853\u7814\u8a0e\u6703\uff0c\u4e16\u65b0\u5927\u5b78\u3002\uff08\u672c\u8ad6\u6587\u70ba\u300c\u570b\u79d1\u6703\u5c08\u984c\u7814\u7a76\u8a08\u756b\uff0d\u66f8\u4fe1\u96fb\u5f71\u7814\u7a76\uff1a\u53ec\u559a\u8207\u63a5\u6536\u300d\u6210\u679c\uff09\u3002<\/li>\n
\u200b<\/strong>2024\uff08\u6c11113.04\uff09\u2018The Man Who Waters His Private Garden: Suzuki Shiroyasu\u2019s Diary Film, Extremely Private Core<\/em> (2008)\u2019, BAFTSS Annual Conference 2024: Labour and Screen Media, University of Sussex, UK.\uff08\u672c\u8ad6\u6587\u70ba\u300c\u570b\u79d1\u6703\u5c08\u984c\u7814\u7a76\u8a08\u756b\uff0d\u81ea\u756b\u50cf\u96fb\u5f71\u7814\u7a76\uff1a\u81ea\u6211\u7684\u4fee\u8fad\u8207\u5f15\u7528\u300d\u6210\u679c\uff09\u3002<\/li>\n
2023\uff08\u6c11112.09\uff09\u2018Mr. Bean versus Carson Clay: the Use of Amateur Film Footage in Feature Film\u2019, The 29^{th<\/sup> edition of Visible Evidence 2023, University of Udine, Italy.<\/li>\n}
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2023\uff08\u6c11112.04\uff09\u2018Essay Film-making in the Age of Anxiety: Letter-Film as a Way of Resistance and Regaining Utopia\u2019, BAFTSS Annual Conference 2023: Sustainable Futures: Ethics, Responsibility and Care in Film, Television, Screen Studies and Practices, University of Lincoln.\uff08\u672c\u8ad6\u6587\u70ba\u300c\u570b\u79d1\u6703\u5c08\u984c\u7814\u7a76\u8a08\u756b\uff0d\u66f8\u4fe1\u96fb\u5f71\u7814\u7a76\uff1a\u53ec\u559a\u8207\u63a5\u6536\u300d\u6210\u679c\uff09\u3002<\/li>\n
\u200b2022\uff08\u6c11111.07\uff09\u2018Responses or Just Echoes?\u00a0Correspondence: Yuri Obitani\/Ming-Yu Lee (2019-2021)\u2019, Screen Studies Conference 2022.<\/li>\n
2022\uff08\u6c11111.06\uff09\u3008\u65c1\u767d\u6216\u662f\u756b\u5916\u97f3\uff1f\u540c\u5b78\u9ea5\u5a1c\u7d72\u4e2d\u9ec3\u4fe1\u582f\u7684\u8072\u6e90\u554f\u984c\u3009\uff0c\u300c2022\u7576\u4ee3\u5a92\u4ecb\u8207\u5f71\u50cf\u8ad6\u58c7\uff0d\u5a92\u4ecb\u5f71\u8996\u7814\u7a76\u8207\u5275\u4f5c\u300d\u5b78\u8853\u7814\u8a0e\u6703\uff0c\u4e16\u65b0\u5927\u5b78\uff08\u7dda\u4e0a\uff09\uff08\u672c\u8ad6\u6587\u70ba\u300c\u79d1\u6280\u90e8\u5c08\u984c\u7814\u7a76\u8a08\u756b\uff0d\u4f5c\u8005\u7684\u8072\u97f3\uff1a\u9ec3\u4fe1\u582f\u96fb\u5f71\u4e2d\u7684\u65c1\u767d\u6558\u8ff0\u7814\u7a76\u300d\u6210\u679c\uff09<\/li>\n
2022\uff08\u6c11111.04\uff09\u2018Counterpoint and Echo: the Practice and Research of\u00a0Correspondence: Yuri Obitani\/Ming-Yu Lee (2019-2021)\u2019, BAFTSS 10th\u00a0Annual Conference 2022.<\/li>\n
2021\uff08\u6c11110.06\uff09\u2018A Non-vococentric Essay Film: Metaphoric Voice and Hidden Authorship in Huang Hsin-yao\u2019s\u00a0Cloud Nation\u00a0(2015)\u2019, Screen Studies Conference 2021.\uff08\u672c\u8ad6\u6587\u70ba\u300c\u79d1\u6280\u90e8\u5c08\u984c\u7814\u7a76\u8a08\u756b\uff0d\u975e\u4eba\u8072\u4e2d\u5fc3\u6563\u6587\u96fb\u5f71\u7814\u7a76\uff1a\u96b1\u55bb\u6027\u8072\u97f3\u8207\u96b1\u85cf\u7684\u4f5c\u8005\u300d\u6210\u679c\uff09<\/li>\n
2021\uff08\u6c11110.06\uff09\u3008\u975e\u4eba\u8072\u4e2d\u5fc3\u6563\u6587\u96fb\u5f71\uff1a\u9ec3\u4fe1\u582f\u300a\u96f2\u4e4b\u570b\u300b\u4e2d\u7684\u6c89\u9ed8\u3009\uff0c\u300c2021\u7576\u4ee3\u5f71\u50cf\u8ad6\u58c7\uff0d\u5f71\u8996\u7814\u7a76\u8207\u5275\u4f5c\u300d\u5b78\u8853\u7814\u8a0e\u6703\uff0c\u4e16\u65b0\u5927\u5b78\uff08\u7dda\u4e0a\uff09\uff08\u672c\u8ad6\u6587\u70ba\u300c\u79d1\u6280\u90e8\u5c08\u984c\u7814\u7a76\u8a08\u756b\uff0d\u975e\u4eba\u8072\u4e2d\u5fc3\u6563\u6587\u96fb\u5f71\u7814\u7a76\uff1a\u96b1\u55bb\u6027\u8072\u97f3\u8207\u96b1\u85cf\u7684\u4f5c\u8005\u300d\u6210\u679c\uff09<\/li>\n
2019\uff08\u6c11108.04\uff09\u2018There is Iron in Water: Intersectional Friendship, Intersectional Cinema in Jaime Rosales and Wang Bing\u2019s\u00a0Correspondence\u2019, BAFTSS 7th\u00a0Annual Conference 2019 \u2013 Intersecting Identities: Race, Sex, Nation. \uff08\u672c\u8ad6\u6587\u70ba\u300c\u79d1\u6280\u90e8\u5c08\u984c\u7814\u7a76\u8a08\u756b\uff0d\u6563\u6587\u96fb\u5f71\u7814\u7a76\uff1a\u601d\u60f3\u3001\u5f62\u5f0f\u8207\u500b\u4eba\u7684\u7586\u754c\u7814\u7a76\u300d\u6210\u679c\uff09<\/li>\n
2017\uff08\u6c11106.11\uff09\u2018Written Diary as Script: Na\u2019Ou Liu\u2019s Personal Camera and His Essay Film\u00a0Man with a Camera\u00a0(1933)\u2019, Essay Film and Narrative Techniques: Screenwriting Non-Fiction. University of York.\uff08\u672c\u8ad6\u6587\u70ba\u4e16\u65b0\u5927\u5b78\u6821\u5167\u7814\u7a76\u8a08\u756b\uff0d\u65e5\u8a18\u96fb\u5f71\u7814\u7a76\uff1a\u5f71\u50cf\u4e3b\u9ad4\u6027\u3001\u6558\u8ff0\u8207\u8b8a\u594f\u7814\u7a76\u6210\u679c\uff09<\/li>\n
2017\uff08\u6c11106.06\uff09 \u2018The Diary Film and Its Variations: Correspondence, Song and Haiku in Jonas Mekas\u2019s Films\u2019, Screen Studies Conference 2017, University of Glasgow.<\/li>\n
2013\uff08\u6c11102.06\uff09 \u2018The Man Migrates with a Movie Camera: From Vertov to Liu Na\u2019Ou\u2019 (\u3008\u6301\u651d\u5f71\u6a5f\u9077\u5f99\u7684\u7537\u4eba\uff1a\u5f9e\u7dad\u6258\u592b\u5230\u5289\u5436\u9dd7\u3009)\uff0c\u300c\u7b2c\u4e8c\u5341\u4e09\u5c46\u570b\u969bScreen\u5e74\u6703\u300d(the 23rd\u00a0International Screen Studies Conference \u2013 Cosmopolitan Screens)\u3002\u683c\u62c9\u65af\u54e5\u5927\u5b78\u4e3b\u8fa6\uff0c\u82f1\u570b\u683c\u62c9\u65af\u54e5\u3002<\/li>\n
2012\uff08\u6c11101.01\uff09 \u2018On\u00a0Time Variations\u00a0& Current Study and Practice on Home Movies in Taiwan \u2013 A\u00a0Short Introduction\u2019 (\u3008\u8ad6\u300a\u6642\u9593\u8b8a\u594f\u66f2\u300b\u53ca\u53f0\u7063\u5bb6\u5ead\u96fb\u5f71\u7814\u7a76\u8207\u5be6\u8e10\u3009)\uff0c\u300cTakeaway China\u7814\u8a0e\u6703\uff1a\u83ef\u8a9e\u96fb\u5f71\u4e2d\u7684\u8a18\u61b6\u8207\u898b\u8b49\u300d\u3002CFFUK\u3001\u683c\u62c9\u65af\u54e5\u5927\u5b78\u4e3b\u8fa6\uff0c\u82f1\u570b\u683c\u62c9\u65af\u54e5\u3002<\/li>\n<\/ul>\n
\u7814\u7a76\u8a08\u756b\uff1a<\/span><\/strong><\/p>\n
\n
2025\u00a0 \u5f9e\u53e3\u9999\u7cd6\u5973\u5b69\u5230\u8a0e\u53ad\u9b5a\u7684\u53f2\u5e1d\u592b\uff1a\u7d04\u7ff0\uff0e\u53f2\u5bc6\u65af\u7684\u56db\u6bb5\u96fb\u5f71\u5275\u4f5c\u822a\u7a0b\uff08\u570b\u79d1\u6703\u500b\u5225\u578b\u5c08\u984c\u7814\u7a76\u8a08\u756bNSTC 114-2410-H-128-012-MY2\uff09<\/li>\n
2024\u00a0 \u81ea\u756b\u50cf\u96fb\u5f71\u7814\u7a76II\uff1a\u8868\u6f14\u8207\u5dee\u7570\uff08\u570b\u79d1\u6703\u500b\u5225\u578b\u5c08\u984c\u7814\u7a76\u8a08\u756bNSTC 113-2410-H-128-003-\uff09<\/li>\n
2023 \u81ea\u756b\u50cf\u96fb\u5f71\u7814\u7a76\uff1a\u81ea\u6211\u7684\u4fee\u8fad\u8207\u5f15\u7528\uff08\u570b\u79d1\u6703\u500b\u5225\u578b\u5c08\u984c\u7814\u7a76\u8a08\u756bNSTC 112-2410-H-128-012-\uff09<\/li>\n
2022 \u66f8\u4fe1\u96fb\u5f71\u7814\u7a76\uff1a\u53ec\u559a\u8207\u63a5\u6536\uff08\u570b\u79d1\u6703\u500b\u5225\u578b\u5c08\u984c\u7814\u7a76\u8a08\u756bMOST 111-2410-H-128-020-\uff09<\/li>\n
2021 \u4f5c\u8005\u7684\u8072\u97f3\uff1a\u9ec3\u4fe1\u582f\u96fb\u5f71\u4e2d\u7684\u65c1\u767d\u6558\u8ff0\u7814\u7a76\uff08\u570b\u79d1\u6703\u500b\u5225\u578b\u5c08\u984c\u7814\u7a76\u8a08\u756b MOST 110-2410-H-128-015-\uff09<\/li>\n
2020 \u975e\u4eba\u8072\u4e2d\u5fc3\u6563\u6587\u96fb\u5f71\u7814\u7a76\uff1a\u96b1\u55bb\u6027\u8072\u97f3\u8207\u96b1\u85cf\u7684\u4f5c\u8005\uff08\u79d1\u6280\u90e8\u500b\u5225\u578b\u5c08\u984c\u7814\u7a76\u8a08\u756b MOST 109-2410-H-128-004-\uff09<\/li>\n
2018 \u6563\u6587\u96fb\u5f71\u7814\u7a76\uff1a\u601d\u60f3\u3001\u5f62\u5f0f\u8207\u500b\u4eba\u7684\u7586\u754c\uff08\u79d1\u6280\u90e8\u500b\u5225\u578b\u5c08\u984c\u7814\u7a76\u8a08\u756bMOST 107-2410-H-128-039-\uff09<\/li>\n
2017 \u65e5\u8a18\u96fb\u5f71\u7814\u7a76\uff1a\u5f71\u50cf\u4e3b\u9ad4\u6027\u3001\u6558\u8ff0\u8207\u8b8a\u594f\uff08\u4e16\u65b0\u5927\u5b78\u300c\u5b78\u8853\u7814\u7a76\u5c08\u6848\u88dc\u52a9\u300d\uff09\u200b<\/li>\n<\/ul>\n
\u5c0e\u6f14\u5275\u4f5c\uff1a<\/span><\/strong><\/p>\n
\n
2021 \u300a\u5f71\u50cf\u7684\u5f71\u5b50\u300b(Shadows of Images)<\/li>\n
\u200b2021 \u300a\u901a\u4fe1\uff1a\u5e36\u8c37\u6709\u7406\uff0f\u674e\u660e\u5b87\u300b(Correspondence: Yuri Obitani\/Ming-Yu Lee, 2019-2021)<\/li>\n
2021 \u300a\u8c93\u82ad\u857e\u300b(Meow Ballet Mecanique)<\/li>\n
2020 \u300a\u8c93\u7684\u91cd\u8907\u300b(The Repetition of Cats)<\/li>\n
2019 \u300a\u7c73\u52d2\u65e5\u8a18\uff0d\u7b2c\u56db\u5e74\u300b(Four Years of Miller \u2013 the Fourth Year)<\/li>\n
2018 \u300aBobina Mundial\u300b(with Jeff Zorrilla, Dagie Brundert, Ernesto Baca and Jamie Frazer)(Super 8 global project)<\/li>\n
2018 \u300a\u7c73\u52d2\u65e5\u8a18\uff0d\u7b2c\u4e09\u5e74\u300b(Four Years of Miller \u2013 the Third Year)<\/li>\n
2017 \u300a\u60df\u6642\u9593\u8a6e\u91cb\u6642\u9593\u300b<\/li>\n
2017 \u300a\u7c73\u52d2\u65e5\u8a18 \u2013 \u7b2c\u4e8c\u5e74\u300b(Four Years of Miller \u2013 the Second Year)<\/li>\n
2015 \u300a\u7c73\u52d2\u65e5\u8a18 \u2013 \u7b2c\u4e00\u5e74\u300b(Four Years of Miller \u2013 the First Year)<\/li>\n
2012 \u300a\u55ac\u6cbb\u5927\u8857\u8c93\u65e5\u8a18\u7cfb\u5217\u300b (Great George Street Walking\/Sleeping)<\/li>\n
2011 \u300aYoi, Yoi, Yoi\u300b (S-8\/ Color\/ Silent)<\/li>\n
2010 \u300a\u4ecd\u672a\u5230\u5bb6\u300b(Home Not Yet Arrived) (Digital Camera, S-8\/ Color\/ Silent)<\/li>\n
2009 \u300a\u65e5\u8a18_\u504f\u96e2\u300b(Diary_Devaition) (S-8, 16mm, Digital Camera\/ Color\/ Silent)<\/li>\n
2008 \u300a\u56de\u5bb6\u300b (Going Home) (S-8, 16mm, Hi-8, DV\/ Color\/ V.O. Chinese)<\/li>\n
2006 \u300a\u6642\u9593\u8b8a\u594f\u66f2\u300b(Time Variations) (V8, DV\/ Color\/ Silent\/ 6 mins)<\/li>\n
2006 \u300a\u706b\u8eca\u9032\u7ad9\u300b(Arrival of a Train) (Mobile Phone Camera\/ Color\/ Silent)<\/li>\n
2006 \u300a001-ing\u300b (S-8, DV\/ Color\/ Silent)<\/li>\n
2005 \u300a\u90a3\u5929\u300b(That Day) (S-8, DV\/ Color\/ V.O. Chinese)<\/li>\n<\/ul>\n
\u5f97\u734e\u7d00\u9304\uff1a<\/span><\/strong><\/p>\n
\n
2023\uff08\u6c11111\uff09\u300a\u5f71\u50cf\u7684\u5f71\u5b50\u300b\u7372Cine Paris Film Festival\u6700\u4f73\u5be6\u9a57\u96fb\u5f71Best Experimental Film\u3002<\/li>\n
2022\uff08\u6c11110\uff09\u300a\u901a\u4fe1\uff1a\u5e36\u8c37\u6709\u7406\uff0f\u674e\u660e\u5b87\u300b\u7372\u5229\u7269\u6d66\u5730\u4e0b\u96fb\u5f71\u5c55\u6700\u4f73\u5f71\u7247\u5730\u4e0b\u96fb\u5f71\u5927\u734e\uff08Liverpool Underground Film Festival \u2013 Underground Award\uff09\u3002<\/li>\n
2022\uff08\u6c11110\uff09 \u4e16\u65b0\u5927\u5b78110\u5b78\u5e74\u5ea6\u5b78\u8853\u767c\u8868\u66a8\u5275\u4f5c\u734e\u52f5<\/li>\n
2017\uff08\u6c11106\uff09 \u4e16\u65b0\u5927\u5b78106\u5b78\u5e74\u5ea6\u5b78\u8853\u767c\u8868\u66a8\u5275\u4f5c\u734e\u52f5<\/li>\n
2016\uff08\u6c11105\uff09 \u4e16\u65b0\u5927\u5b78105\u5b78\u5e74\u5ea6\u5b78\u8853\u767c\u8868\u66a8\u5275\u4f5c\u734e\u52f5<\/li>\n
2016\uff08\u6c11105\uff09 \u7b2c\u4e03\u5c46\u300c2016 EX!T \u53f0\u7063\u570b\u969b\u5be6\u9a57\u5a92\u9ad4\u85dd\u8853\u5c55 \u2013 \u65e5\u5e38\u5728\u7576\u4e0b\uff1a\u65e5\u8a18\u96fb\u5f71\u5f71\u5c55\u300d\u7372\u53f0\u5317\u5e02\u6587\u5316\u5c40\u5c08\u696d\u85dd\u6587\u985e\u7b56\u5c55\u88dc\u52a9\u3002<\/li>\n
2016\uff08\u6c11105\uff09\u300c\u300a\u53f0\u7063\u3001\u8de8\u570b\u8207\u81ea\u6211\u7684\u4e3b\u9ad4 \u2013 \u65e5\u8a18\u96fb\u5f71\u7814\u7a76\u300b\u51fa\u7248\u8a08\u756b\u300d\u7372\u8ca1\u5718\u6cd5\u4eba\u570b\u5bb6\u85dd\u8853\u57fa\u91d1\u6703\u7f8e\u8853\u985e\u51fa\u7248\u88dc\u52a9\u3002<\/li>\n
2014\uff08\u6c11103.06\uff09 \u8523\u7d93\u570b\u570b\u969b\u5b78\u8853\u4ea4\u6d41\u57fa\u91d1\u6703 \u2013 \u6b50\u6d32\u5730\u5340\u7559\u5b78\u751f\u535a\u58eb\u8ad6\u6587\u734e\u5b78\u91d1\u3002<\/li>\n
2007\uff08\u6c1196.06\uff09 \u300a\u6642\u9593\u8b8a\u594f\u66f2\u300b(Time Variations)\u7372\u5f97\u7fa9\u5927\u5229Imaginaria Film Festival\u5be6\u9a57\u9304\u50cf\u7af6\u8cfd\u985e\u300cSpecial Mention\u300d\u734e(Special Mention award \u2013 Videoart Experimental \u2013 Imaginaria Film Festival, Italy)\u3002<\/li>\n<\/ul>\n
\u4f5c\u54c1\u53c3\u5c55\u7d00\u9304\uff1a<\/span><\/strong><\/p>\n
\u300a\u5f71\u50cf\u7684\u5f71\u5b50\u300b(Shadows of Images)<\/p>\n
\n
2023\/07\u00a0 Cine Paris Film Festival \u2013 Best Experimental Film.<\/li>\n
2023\/05\u00a0 APEX Film Awards.<\/li>\n<\/ul>\n
\u300a\u901a\u4fe1\uff1a\u5e36\u8c37\u6709\u7406\uff0f\u674e\u660e\u5b87\u300b(Correspondence: Yuri Obitani\/Ming-Yu Lee)<\/p>\n
\n
2023\/06\u00a0 LA Underground Film Forum \u2013 Honorable Mention.<\/li>\n
2023\/05\u00a0 Liber Films International Festival.<\/li>\n
2023\/03\u00a0 Zagreb International Film Festival.<\/li>\n
2023\/06\u00a0 Barcelona Indie Filmmakers Fest.<\/li>\n
2022\/12\u00a0 Alternative Film Festival 2022 (Canada).<\/li>\n
2022\/12\u00a0 Alternative Film Festival.<\/li>\n
2022\/12\u00a0 Switzerland International Film Festival.<\/li>\n
2022\/11\u00a0 Film Diary NYC.<\/li>\n
2022\/08\u00a0 Liverpool Underground Film Festival (UK).<\/li>\n
2021\/11\u00a0 EX!T 11 (Taipei).<\/li>\n<\/ul>\n
\u300aBobina Mundial\u300b<\/p>\n
\n
2019\/04\u00a0 Mostra Experimenta de Super 8, Cinema Trails, Super Off.<\/li>\n<\/ul>\n
\u300a\u7c73\u52d2\u65e5\u8a18 \u2013 \u7b2c\u4e8c\u5e74\u300b(Four Years of Miller \u2013 the Second Year)<\/p>\n
\n
2017\/01 \u7b2c\u4e8c\u5c46\u53f0\u7063\u570b\u969b\u8c93\u5f71\u5c55 \u2013 \u7167\u819c\uff0c\u53f0\u5317\uff0c\u7acb\u65b9\u8a08\u5283\u7a7a\u9593\u3002<\/li>\n<\/ul>\n
\u300a\u7c73\u52d2\u65e5\u8a18 \u2013 \u7b2c\u4e00\u5e74\u300b(Four Years of Miller \u2013 the First Year)<\/p>\n
\n
2016\/02 \u7b2c\u4e00\u5c46\u53f0\u7063\u570b\u969b\u8c93\u5f71\u5c55 \u2013 \u7167\u819c\uff0c\u53f0\u5317\uff0c\u7acb\u65b9\u8a08\u5283\u7a7a\u9593\u3002<\/li>\n<\/ul>\n
\u300aYoi, Yoi, Yoi\u300b<\/p>\n
\n
2014\/11 1st Super OFF \u2013 International Super 8 Film in S\u00e3o Paulo \u2013 Selected International (Digital) Movies (S\u00e3o Paulo, Brazil)<\/li>\n<\/ul>\n
\u300a\u55ac\u6cbb\u5927\u8857\u8c93\u65e5\u8a18 \u2013 \u7761\u300b(Great George Street Sleeping)<\/p>\n
\n
2012\/08 One Minute Film & Video Festival (Aarau, Switzerland)<\/li>\n<\/ul>\n
\u300a\u55ac\u6cbb\u5927\u8857\u8c93\u65e5\u8a18 \u2013 \u6f2b\u6b65\u300b(Great George Street Walking)<\/p>\n
\n
2012\/06 Films About Places (The Allery Gallery, Manchester, UK)<\/li>\n<\/ul>\n
\u300a\u4ecd\u672a\u5230\u5bb6\u300b(Home Not Yet Arrived)<\/p>\n
\n
\u200b2012\/10 Home Movie Day 2012 (Bari, ITALY)<\/li>\n
2011\/12 Alternative Film & Video \u2013 International Competition (Serbia)<\/li>\n
2011\/09 EXiS 2011 (Seoul)<\/li>\n
2011\/07 Festival Images Contre Nature (Marseille, FRANCE)<\/li>\n
2010\/09 Jeu de Paume \u2013 Faux Amis, une vid\u00e9oth\u00e8que \u00e9ph\u00e9m\u00e8re (Paris, FRANCE)<\/li>\n<\/ul>\n
\u300a\u65e5\u8a18_\u504f\u96e2\u300b(Diary_Deviation)<\/p>\n
\n
\u200b2010\/09 I\u2019ve Seen Films \u2013 International Film Festival (Milano, ITALY)<\/li>\n
2010\/08 Videoholica \u2013 International Video Art Festival (Varna, BULGARIA)<\/li>\n
2010\/07 10th Images Contre Nature \u2013 International Festival Experimental Video (Marseille, FRANCE)<\/li>\n
2010\/05 NewMediaFest\u2019 2010 Cologne \u2013 [self]~imaging v. 1.0 (Cologne, GERMANY)<\/li>\n
2010\/04 FLUXUS 2010 \u2013 Museum of Image & Sound \u2013 MIS \u2013 SP (Sao Paulo, BRASIL)<\/li>\n<\/ul>\n
\u300a\u56de\u5bb6\u300b(Going Home)<\/p>\n
\n
\u200b2009\/03 24th VIDEOFORMES \u2013 Manifestation Internationale Art Video et Nouveaux Medias (Clermont - Ferrand, FRANCE)<\/li>\n
2008\/11 HOME \u2013 Taiwan Biennial 2008, National Taiwan Museum of Fine Arts<\/li>\n
2008\/11 26th FESTIVAL TOUS COURTS \u2013 Festival International de Courts Metrages d\u2019Aix-en-Provence \u2013 Cinema \u201cAixperimental\u201d : Journal Intime (Aix-en-Provence, FRANCE)<\/li>\n
2008\/11 3rd Festival du Film de Famille a Saint-Ouen (Saint-Ouen, FRANCE)<\/li>\n
2008\/10 7th Lausanne Underground Film & Music Festival \u2013 Competition Internationale \u2013 courts metrages experimentaux (Lausanne, SWITZERLAND)<\/li>\n<\/ul>\n
\u300a\u6642\u9593\u8b8a\u594f\u66f2\u300b(Time Variation)<\/p>\n
\n
\u200b2007\/06 SPECIAL MENTION Award \u2013 Imaginaria Film Festival \u2013 Videoart Experiment (Conversano, ITALY)<\/li>\n
2007\/06 Scope Art Fair (Basel, SWITZERLAND)<\/li>\n
2007\/04 EXPLODING CINEMA (London, UK)<\/li>\n
2007\/03 22nd VIDEOFORMES \u2013 Manifestation Internationale Art Video et Nouveaux Medias (Clermont - Ferrand, FRANCE)<\/li>\n<\/ul>\n
\u300a\u90a3\u5929\u300b(That Day)<\/p>\n
\n
\u200b2007\/10 Golden Lion Film Festival (Swaziland, AFRICA)<\/li>\n
2006\/05 Les Film en Bois \u2013 DEVIATION # 2 (Paris, FRANCE)<\/li>\n
2005\/09 4th Lausanne Underground Film & Music Festival \u2013 Competition international courts metrages experimentaux (Lausanne, SWITZERLAND)<\/li>\n
2005\/07 Students Film and Video Exhibition (Taipei, TAIWAN)<\/li>\n<\/ul>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t\t<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"
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