Decision Submission
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Different Brilliance—The D & B Story
1. Yes, Madam (1985): Michelle Yeoh 2. Love Unto Wastes (1986): (left) Elaine Jin; (right) Tony Leung Chiu-wai 3. An Autumn’s Tale (1987): (left) Chow Yun-fat; (right) Cherie Chung 4. Where’s Officer Tuba? (1986): Sammo Hung 5. Hong Kong 1941 (1984): (from left) Alex Man, Cecilia Yip, Chow Yun-fat 6. It’s a Mad, Mad, Mad World (1987): (front row from left) Loletta Lee, Elsie Chan, Pauline Kwan, Lydia Sum, Bill Tung; (back row) John Chiang 7. The Return of Pom Pom (1984): (left) John Sham; (right) Richard Ng 8. Heart to Hearts (1988): (from left) Dodo Cheng, George Lam, Vivian Chow Pic. 1-8 © 2010 Fortune Star Media Limited All Rights Reserved Contents 4 Foreword Kwok Ching-ling, Wong Ha-pak 〈Chapter I〉 Production • Cinema Circuits 10 D & B’s Development: From Production Company to Theatrical Distribution Po Fung Circuit 19 Retrospective on the Big Three: Dickson Poon and the Rise-and-Fall Story of the Wong Ha-pak D & B Cinema Circuit 29 An Unconventional Filmmaker—John Sham Eric Tsang Siu-wang 36 My Days at D & B Shu Kei In-Depth Portraits 46 John Sham Diversification Strategies of a Resolute Producer 54 Stephen Shin Targeting the Middle-Class Audience Demographic 61 Linda Kuk An Administrative Producer Who Embodies Both Strength and Gentleness 67 Norman Chan A Production Controller Who Changes the Game 73 Terence Chang Bringing Hong Kong Films to the International Stage 78 Otto Leong Cinema Circuit Management: Flexibility Is the Way to Go 〈Chapter II〉 Creative Minds 86 D & B: The Creative Trajectory of a Trailblazer Thomas Shin 92 From -
Index Page Replies to Initial Written Questions Raised by Finance
Index Page Replies to initial written questions raised by Finance Committee Members in examining the Estimates of Expenditure 2016-17 Director of Bureau : Secretary for Commerce and Economic Development Session No. : 9 File Name : CEDB(CCI)-1-e1.doc Reply Serial Question No. Serial No. Name of Member Head Programme CEDB(CCI)001 1853 CHAN Chi-chuen 55 (1) Broadcasting and Creative Industries CEDB(CCI)002 1864 CHAN Chi-chuen 55 (1) Broadcasting and Creative Industries CEDB(CCI)003 1874 CHAN Chi-chuen 55 (1) Broadcasting and Creative Industries CEDB(CCI)004 2347 CHAN Chi-chuen 55 CEDB(CCI)005 5416 CHAN Chi-chuen 55 (1) Broadcasting and Creative Industries CEDB(CCI)006 5417 CHAN Chi-chuen 55 (1) Broadcasting and Creative Industries CEDB(CCI)007 5418 CHAN Chi-chuen 55 (1) Broadcasting and Creative Industries CEDB(CCI)008 5423 CHAN Chi-chuen 55 (2) Telecommunications CEDB(CCI)009 5512 CHAN Chi-chuen 55 CEDB(CCI)010 6244 CHAN Ka-lok, 55 (1) Broadcasting and Creative Kenneth Industries CEDB(CCI)011 6245 CHAN Ka-lok, 55 (1) Broadcasting and Creative Kenneth Industries CEDB(CCI)012 3037 CHAN Yuen-han 55 (1) Broadcasting and Creative Industries CEDB(CCI)013 6609 CHAN Yuen-han 55 (1) Broadcasting and Creative Industries CEDB(CCI)014 6610 CHAN Yuen-han 55 (1) Broadcasting and Creative Industries CEDB(CCI)015 6611 CHAN Yuen-han 55 (1) Broadcasting and Creative Industries CEDB(CCI)016 2837 CHEUNG 55 (2) Telecommunications Wah-fung, Christopher CEDB(CCI)017 2523 CHUNG Shu-kun, 55 (1) Broadcasting and Creative Christopher Industries CEDB(CCI)018 4194 HO Sau-lan, Cyd 55 (1) Broadcasting and Creative Industries CEDB(CCI)019 4203 HO Sau-lan, Cyd 55 CEDB(CCI)020 4204 HO Sau-lan, Cyd 55 CEDB(CCI)021 4205 HO Sau-lan, Cyd 55 CEDB(CCI)022 4207 HO Sau-lan, Cyd 55 Reply Serial Question No. -
Download Download
Journal of Arts & Humanities Sport Culture of Hong Kong: Recent Development and Prospects Eddie T. C. Lam, Ph.D.1 ABSTRACT Hong Kong is well-known for its beautiful natural harbor, vibrant nightlife, as well as tremendous entertainment and shopping opportunities. After 2008, people in world are more familiar with this city because its role in holding the Olympic Equestrian Events. Nevertheless, little is known beyond Hong Kong about its sport structure, development, and sustainability because of the limited research in these areas. The purpose of this paper is to illustrate the sport culture of Hong Kong, including the development and administration of sports and sporting events. Through literature review and an examination on the sport development and management mechanisms of Hong Kong, it was found that the following three main themes would guide the direction of future sports development: (a) promoting “Sports for All,” (b) fostering high performance sports, and (c) equipping Hong Kong to host international sports events. It is concluded that the Hong Kong Government plays an active role in funding and supporting the development of sports, which is also backed by the business sector in Hong Kong. Specifically, the Leisure and Cultural Services Department not only develops and manages a wide range of sports and recreational facilities for use by the general public, but it also supports and organizes sports and recreational programs that promote the long-term well-being of the residents in Hong Kong. Nevertheless, to explore open spaces for leisure purposes is a challenge for the Hong Kong Government, and the HK$19.7 billion Kai Tak Sports Complex under construction may provide a sound resolution to such demands. -
LC Paper No. CB(4)985/14-15(01)
LC Paper No. CB(4)985/14-15(01) Free TV licence of TVB renewed 1 / 2 Free TV licence of TVB renewed ****************************** The Government today (May 12) announced that the Chief Executive in Council has approved the application for renewal of the domestic free television programme service (free TV) licence of Television Broadcasts Limited (TVB) for a period of 12 years from December 1, 2015, to November 30, 2027. TVB has committed to a six-year investment plan of $6,336 million for 2016 to 2021, comprising $144 million of capital investment and $6,192 million of programming investment. It has also undertaken that each year at least 12,000 hours of the programmes on its service (representing about 27.4 per cent of its total programmes) will be local productions. "The licence conditions in the renewed licence of TVB are largely based on its existing licence, with additional requirements imposed to address public calls for improvements in its programming variety and quality," a spokesman for the Commerce and Economic Development Bureau said. TVB is required to provide an additional four hours per week of positive programmes in total on its digital channels, which are currently exempted from such a programming requirement. These include current affairs programmes, documentaries, arts and culture programmes and programmes for young persons. All must be first-run programmes with 60 minutes per week for each genre. "Furthermore, to respond to public aspirations and to facilitate the Government's policy of nurturing local talents, TVB has been required to provide on its licensed service independent local productions on an incremental basis from 20 hours per year in 2016 to 60 hours per year by 2020," the spokesman said. -
Hong Kong's Popular Entertainment 1. Introduction
Hong Kong’s Popular Entertainment 1. Introduction “Popular entertainment” can be defined as forms of entertainment that are accepted and enjoyed by most people in a society. Popular entertainment is intimately connected with people’s lives and forms part of their culture; its transformation reflects the changing times. Adhering to traditional customs and practice, the local Chinese had various traditional forms of entertainment, such as dragon dances, lion dances and outdoor Chinese opera, all of which were performed to celebrate the birthdays of deities. After the cession of Hong Kong to the British government in 1842, new and foreign forms of entertainment such as horseracing, football, movies and so on, reached its shores. In the beginning, such activities were partaken by Europeans and some Chinese, but they gradually became more widespread and eventually became part of the popular entertainment in Hong Kong. Hong Kong has seen many changes over the past 150 years⎯population increase, economic development, technological advancement, the transformation of its society and the growth of its commerce. In tandem with these changes is the evolution of Hong Kong’s popular entertainment, in terms of venues, programme content, games equipment, participation methods and so on. Several trends can be gleaned from observing these developments. Entertainment in Hong Kong is evolving from one that involves mass participation to one that engages the individual, and it is no longer something to be indulged in at one’s leisure but a consumer activity with commercial interests. In addition, tangible toys, which are played in real time and space, are being replaced by virtual games unfettered by physical constraints.