Life is a cat. Hence, in order to weave my life (that I have lived thus far) into some form of sensible story, I must first assume the point of view of a cat.

Most people told me that I could not do everything. I did not do everything and I hope that this would calm down the anxiety of those who worry about me.

I was born in Hong Kong, basked in the ecastatic pleasures of video arcades, TV dramas and action comedies; as well as in the penumbra of deep political anxiety and a transient sense of time. Life in Diocesan Boys' School and my dearest friends in the Chinese Music Society, among music competitions, the Music Office and rude sexual awakenings, passed as my adolescent dreams slowly dissipated into grander and more phantasmagoric unrealities -- fueled by a sexual repression unleashed in music, the theatre and the cinema.

I passed my A-Levels at Malvern College in music, theology and philosophy, and history. My obsession with Carl Schenker was severely condemned in England, which brought me to the Eastman School of Music for a BM in composition. Derek Jarman was signing Modern Nature around the time I left. I didn't make it. If everyone has one thing which s/he is allowed to regret, that was it.

Boredom in downtown Rochester brought me to the Little Theatre everyday, where I watched two films each evening. "Naturally" I wanted to become a filmmaker, and I went to USC for my MFA. I worked as a sound editor first in LA, and then in NYC. Since I am a philosophical cat who wants to make and think about films (aka a hopeless dreamer), I couldn't quite see a luxurious life as a sound technician with a nice house, a black BMW, and a dog (especially the dog part), I went to Yale to pursue a PhD in film studies and comparative literature. My cat self is still working on it.

I compose both concert pieces and film scores. During the 1990's, I set up my own avant-garde ("we" didn't want to call it that way; but for a lack of a better term) theatre group, Post [ET]2! (pronounced as Post-ET-Squared) and directed two theatrical pieces per year. My last piece with the group, The Gao Brothers -- Cruel Story of Desire (1996), received critical acclaimation and earned myself the joint support from the Hong Kong Arts Council and the Hong Kong Arts Centre for my subsequent piece, Martial Law, Gate of Desire (1997), which I aborted due to the self-censoring political climate of the time.

My first short film was Fission (1995), which consolidated the bond between me and my best friend, Bryan (though he didn't work on it). My doc, Two or Three Men I'd Like to Pick Up, But Not Quite Work, on the subject of how British-Asians viewed religion and sexuality at the time, was presented as a multi-media piece at the Hong Kong Fringe Festival in 1996. My thesis film at USC, The Well, was premiered at the Anthology Film Archives in New York in the summer of 2000. It was presented by Sony Music, NY, at the Japan Society the following year, and won the third prize of the long-narrative category at the Ft. Lauderdale Film Festival.

My creative work primarily focuses on the intersection between politics and sexuality. In my last bio on the site, I wrote: "He [Victor] tries to engage his viewers in the dialogical discourses pertaining to female and gay male identities, postcolonial and postwar consciousness, marxist criticism and geopolitical landscapes, especially those related to the interactions between Asia and Europe." I still haven't grown entirely out of these concerns, though there are always new forms of passion, revisons, dismantling and rebuilding -- at the blink of an eye.

I am now working on a feature film about the life and poetry of Pier Paolo Pasolini. I still work as a film composer, sound editor and rerecording mixer. Academically, I have developed several areas of obsession. I'm actively engaged in the study of English football and its historical and sociological relations with China and Hong Kong. I'm investigating into the line of literary articulation of the cinema along the line of Deluc, Epstein, and Bazin in relation to the wars. I'm also deeply interested in the organizational structures of the intellectual and cinematic circles between France, England and China in the 1930s and 40s, as well as the flows between France and East Asia from the 60s to the present. My most recent publication is an article titled "English Football and Its Television Audience" in CLCWeb Journal 8.1 (2006).