此作品集輯錄了十位本地藝術家由1984至1995年的錄像作品，紀錄了香港錄像創作人在過去英國統治下的不同創作風格，並反映殖民時期的混雜文化身份。

1983年中英聯合聲明簽訂後，很多香港錄像創作人的作品開始以思索自身未來及尋找文化身份為創作基礎，以下作品反映了在處理這個重要的社會歷史議題時，一種既戲謔又間接的手法。

This video compilation presents works made between 1984-1995, documents the various styles in video making in Hong Kong under British rule and reflects its post-colonial cultural identity.

In 1983, after the signing of the Sino-British Joint Declaration, much of the work in Hong Kong is based on the search for a cultural identity and the unique hybrid of east and west. The works presented here reflect a witty and oblique approach in treating such an important social and historical issue.

Ellen Pau, born in Hong Kong, began her art career while studying radiography at Hong Kong Polytechnic University, creating her first experimental super-8 film, The Glove. She co-founded Videotage in 1986 and received the Asia Cultural Council Fellowship in 1992, creating Song of the Goddess in the U.S. Her international career launched at the 1995 Gwangju Biennale, followed by exhibitions at “City on the Move”, Asia Pacific Triennial, Shanghai Biennale and Taipei Biennale. Since 1996, she has been a director at the Microwave International Media Art Festival. At the 2001 Venice Biennale, she presented Recycling Cinema. Recent exhibitions include Awakening: Art in Society in Asia 1960s–1990s (2019) at the National Gallery Singapore, What About Home Affairs (2019) at Para-site and Shape of Light at M+ Facade (2022). Her works are held in collections of the Hong Kong Museum of Art, M+, and Griffith University. The Asia Art Archive launched her archive in 2023.