Lana Lin

Lin was born in Montreal, Canada in 1966. Lin is of Taiwanese descent, with both her parents being from Taiwan. When she was two years old, Lin's family moved from Canada to the US where she grew up, living in the Chicago suburb, Naperville, Illinois. In 1988, Lin obtained a BA in Communication studies with an emphasis in Film Production from the University of Iowa, Iowa City. Lin spent several years studying psychoanalysis at the National Psychological Association for Psychoanalysis (NPAP), later bringing this knowledge into her art and research. She later earned her PhD in Media, Culture, and Communication at New York University in 2015. In terms of gender, Lin identifies as queer. == Career ==

Lin has made experimental films, documentaries, and videos since the early 1990s. Her found footage films were included in William C. Wees' 1993 book, Recycled Images: The Art and Politics of Found Footage Films, as works that are "representative" of the found footage genre. Other 16 mm films would follow, such as Mizu Shobai (Water Business) (1993), Stranger Baby (1995), and Almost the Cocktail Hour (1997). In February 2000, early films by Lin, such as Sphere:Circle:Round (1992), Through the Door (1992), and I Begin to Know You (1992), were screened at the Whitney Museum's film program, The Cool World: Film & Video in America 1950–2000, as part of the exhibition The American Century: Art & Culture 1900–2000. Later in September 2000, Stranger Baby (1995) was screened alongside works by Maya Deren, Peggy Ahwesh, and Yoko Ono at the Whitney Museum as part of their film series The Color of Ritual, the Color of Thought: Women Avant-Garde Filmmakers in America, 1930–2000. For a commission by Cabinet Magazine, Lin developed the web art project everything is not the same (2000). Her new films from this period included No Power to Push Up the Sky (2001) and Mysterial Power (2002). Lin was a fellow at the Whitney ISP from 2000 to 2001 under the Studio Program. Since 2015, Lin has been Associate Professor of Film Theory and Digital Cinema at The New School, New York City. In the book Pedagogies of Woundedness: Illness, Memoir, and the Ends of the Model Minority (Philadelphia: Temple University Press, 2021), James Kyung-Jin Lee writes about Freud’s Jaw and Other Lost Objects, describing Lin's approach as a methodological fulfillment of Mel Y. Chen’s call to "contemplate attachment and vulnerability to the inanimate as a radical form of queer love". The film was screened at venues such as BAMcinemaFest in Brooklyn, the BlackStar Film Festival, Philadelphia, and the San Diego Asian Film Festival. == Selected works ==

I Begin to Know You (2 min 30 sec, 1992) An early film by Lin, I Begin to Know You (1992) is a 16 mm film assembled from found footage of women working in domestic settings across international contexts. In the program catalogue, Simon describes the work as drawing upon a "global image bank to offer some elusive variations on the picturing of women in the domestic arena" functioning as a "ready-made ethnography" that considered the feminine figure of the homemaker. Mizu Shobai (Water Business) (12 min, 1993) In Mizu Shobai (Water Business) (1993), Lin uses water to convey the cultural and linguistic qualities of the Japanese language and mythologized understandings of the geisha. Stranger Baby (14 min, 1995) Described as a "UFO diary film," Stranger Baby (1995) sees Lin drawing upon alien iconography to explore her experiences of growing up in the west. Including a layered soundtrack with voiceovers that form a collage of narratives and interviews, these voices articulate the complexities of race and gender relations, examining the destructive tendency towards racial profiling. Lin filmed 27 diverse interviewees whose lives were impacted by cancer, all of various ages, backgrounds, and sexual identities, reading excerpts aloud from Lorde's book. Described as "poetic nonfiction", the film further layers scenes such as two acrobats supporting each other in the air, an interviewee performing a yoga routine, and close-ups of a mastectomy scar. Included are black-and-white footage of medical facilities and colleges in New York City, and residences in Staten Island, places where Lorde would have frequented while living in New York. The film also reveals Lin's own cancer diagnosis. Through captions and voiceovers, the film perhaps attempts to "mimic the unsettling and nonlinear nature of diagnosis and recovery." == Selected publications and writings ==

Lin has received awards from the Javits Foundation, Fulbright Foundation, Jerome Foundation, New York State Council on the Arts, and New York Foundation for the Arts. She has been MacDowell Fellow in 2022, 2017, 1999 (with Sharon Hayes), and 1996, also having fellowships at Civitella Ranieri Foundation and GIDEST at The New School. Her film The Cancer Journals Revisited (2018) won Best Feature Documentary at the San Diego Asian Film Festival 2019 and Favorite Experimental Film at the 2019 BlackStar Film Festival, Philadelphia. == References ==