Most of Fung's videos touch on his family use a style of predominantly personal narration and an impassive scientific account that illustrates how intimate family histories are shaped by race, ethnicity, and colonialism. His videos pull on subtle imagery, such as the use of waves and the sea (Fung on the beach with Nan as a child and later swimming with his lover Tim). The use of waves and the sea are fluids symbolizing not only the blood as a bearer of illness (Nan's rare blood disease thalassemia and Tim's battle with AIDs), but as a site of pleasure, barriers, and his family's immigration to Canada. In Fung's essay, "Programming the Public", he explores the politics of addressing the audience in his works. Highlighting how gender- or race-based programming must weigh the "phenomenal pleasure of collectively consuming identity-based programs addressing 'you' against the challenge of achieving 'mixed' and formally varied programs that construct new horizons of reception and attract new audiences." Exploring the conflicts between genders, ethnicities, racial differences and divergent communities of tastes, Fung touches on how presentation of film and video and its reception reflect paradoxes of identity, access, and power. Audience reception is then rooted in ones' status and language, reflecting a hierarchical ladder of differences based on gender, race, and class.
