Sail on Through Laughter and Tears, This Small Island Carries on the Lion

“Hong Kong: Our Home” Campaign Theme Song 「「「家是香港「家是香港家是香港」」」」運動運動運動運動主題曲主題曲主題曲《《《《同舟之情同舟之情同舟之情》》》》 Lyrics (Translation) Sail On Music: Eric Kwok, Joseph Koo Lyrics: Abrahim Chan, James Wong Singers: Jacky Cheung, Eason Chan Through laughter and tears, this small island carries on The Lion Rock bears witness to all who come and go Families have their ups and downs, but that doesn’t mean we’re foes We’re in the same boat, holding hands when the going gets rough We may have doubts, but go on writing our story Inspiring quotes immortalise our home, we have no fear The spring breeze blows over an ever-changing world As time passes, the cold always gives way to a warm mist We’re in the same boat, there’s a reason we care for each other so much There is a world where we can go, Where life shines bright Soaring above busy harbour and streets Love lies deep within the old town’s narrow lanes Everyone feels lost sometimes, but we won’t give up hope All I need is to see you by my side How I wish we were together again, going forward side by side Bauhinia petals drift in the tide, weariness is washed away We’re not together, yet we’re not far apart, Thousands of people wish upon stars in the same sky Whether we let go, we’ll still pursue our dreams There is a world where we can go, Where life shines bright Soaring above busy harbour and streets, Love lies deep within the old town’s narrow lanes Everyone feels lost sometimes, but we won’t give up hope We embrace all who show us trust in their eyes 1 Life can be full of obstacles No one can be worry-free But as we sail on in the same boat, Let’s help each other below the Lion Rock Set aside our differences, and strive for common goals There is a world where we can go, Where life shines bright Soaring above busy harbour and streets Love lies deep within the old town’s narrow lanes Everyone feels lost sometimes, but resilience gets us through And shows us just how broad our vision can be There is still hope to lead us on, Still those with kind intent Soaring above busy harbour and streets. Love lies deep within the old town’s narrow lanes Everyone feels lost sometimes, but we soon forget the rights and wrongs All you need is to see me by your side Caring for you, all the way 2 .

Copy Link

Recommended publications

Entire Dissertation Noviachen Aug2021.Pages
Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas by Novia Shih-Shan Chen M.F.A., Ohio University, 2008 B.F.A., National Taiwan University, 2003 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Gender, Sexuality, and Women’s Studies Faculty of Arts and Social Sciences © Novia Shih-Shan Chen 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Novia Shih-Shan Chen Degree: Doctor of Philosophy Thesis title: Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas Committee: Chair: Jen Marchbank Professor, Department of Gender, Sexuality and Women’s Studies Helen Hok-Sze Leung Supervisor Professor, Department of Gender, Sexuality and Women’s Studies Zoë Druick Committee Member Professor, School of Communication Lara Campbell Committee Member Professor, Department of Gender, Sexuality and Women’s Studies Christine Kim Examiner Associate Professor, Department of English The University of British Columbia Gina Marchetti External Examiner Professor, Department of Comparative Literature The University of Hong Kong ii Abstract Women’s documentary filmmaking in Sinophone cinemas has been marginalized in the film industry and understudied in film studies scholarship. The convergence of neoliberalism, institutionalization of pan-Chinese documentary films and the historical marginalization of women’s filmmaking in Taiwan, Hong Kong, and the People’s Republic of China (PRC), respectively, have further perpetuated the marginalization of documentary films by local female filmmakers.
[Show full text]
1 “Ann Hui's Allegorical Cinema” Jessica Siu-Yin Yeung to Cite This
This is the version of the chapter accepted for publication in Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary published by Palgrave Macmillan https://link.springer.com/chapter/10.1007/978-981-10-7766-1_6 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/34754 “Ann Hui’s Allegorical Cinema” Jessica Siu-yin Yeung To cite this article: By Jessica Siu-yin Yeung (2018) “Ann Hui’s Allegorical Cinema”, Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary, ed. Jason S. Polley, Vinton Poon, and Lian-Hee Wee, 87-104, Singapore: Palgrave Macmillan, 2018. Allegorical cinema as a rhetorical approach in Hong Kong new cinema studies1 becomes more urgent and apt when, in 2004, the Closer Economic Partnership Arrangement (CEPA) begins financing mainland Chinese-Hong Kong co-produced films.2 Ackbar Abbas’s discussion on “allegories of 1997” (1997, 24 and 16–62) stimulates studies on Happy Together (1997) (Tambling 2003), the Infernal Affairs trilogy (2002–2003) (Marchetti 2007), Fu Bo (2003), and Isabella (2006) (Lee 2009). While the “allegories of 1997” are well- discussed, post-handover allegories remain underexamined. In this essay, I focus on allegorical strategies in Ann Hui’s post-CEPA oeuvre and interpret them as an auteurish shift from examinations of local Hong Kong issues (2008–2011) to a more allegorical mode of narration. This, however, does not mean Hui’s pre-CEPA films are not allegorical or that Hui is the only Hong Kong filmmaker making allegorical films after CEPA. Critics have interpreted Hui’s films as allegorical critiques of local geopolitics since the beginning of her career, around the time of the Sino-British Joint Declaration in 1984 (Stokes and Hoover 1999, 181 and 347 note 25), when 1997 came and went (Yau 2007, 133), and when the Umbrella Movement took place in 2014 (Ho 2017).
[Show full text]
Speaking in Tongues by Stephanie Han English Standards Are Falling! If You Concur and Believe That the City Is Facing a Linguistic Crisis, You Are in the Majority
Speaking in Tongues by Stephanie Han English standards are falling! If you concur and believe that the city is facing a linguistic crisis, you are in the majority. What you might be surprised to hear is that in 2001, 40% of the population identified themselves as bilingual. Language skills all around have improved. If you’re a typical Hong Konger there’s a good chance your grandmother, like 78% of the women in 1931, couldn’t read or write in any language. Perhaps the illusion of halcyon days of Hong Kong when everyone was speaking “good English” offer sanctuary in difficult times. Prof. Kingsley Bolton of the University of Hong Kong’s Department of English, editor of Hong Kong English: Autonomy and Creativity says, “People need to take a broad view. They have this idea of a mythical golden age they thought existed, when everyone spoke perfect English, maybe in the 1960s when Anson Chan and Martin Lee were at the University of Hong Kong. But I highly suspect that the English they used wasn’t different than the English that Hong Kong students speak today.” Part of the problem is Hong Kong’s increased expectations is that its base has switched from manufacturing to technology and financial services; more people are speaking multiple languages than ever before, but there’s also a demand for a high level of fluency. Fulfilling the government mandate of a trilingual (English, Cantonese and Mandarin) bi-literate (Chinese and English) society in order to keep step with the changing times is impossible without fully examining questions of nationalism and facing the reality of globalized business.
[Show full text]
Summary of Complaints Dealt with by the Broadcasting Authority (2000 - 2002)
CB(1)2197/02-03(01) Summary of Complaints Dealt With by the Broadcasting Authority (2000 - 2002) 1. Advice 1.1 Complaint Cases Related to Programmes Broadcast Programme Title Channel Contravention Date 29.11.1999 The Simpsons ATV World The crude language used in the programme was generally unacceptable for broadcast in the family viewing hours. 29.8.2001 Enlightenment Of Who ATV Home The programme provided an incorrect answer Wants To Be A to a question on the meaning of the three- Millionaire asterisks on the Hong Kong Identity Card of an adult. 8-10.10.2001 Broadcast of Teloped ATV Home The repeated and continuous rolling of teloped Message messages not related to the programmes in which they were screened would disrupt viewing pleasure. 6.8.2002 Meteor Garden ATV Home The end credits of the programme contained a sponsor's name which was a foul expression unacceptable for broadcast. 3.11.2002 Cultural Roots Of ATV Home The footage which described in detail the Hong Kong methods of raising a ghost child was unnerving to children and was not suitable for broadcast during the family viewing hours. 8.5.2000 J.S.G. Song Video TVB Jade The music video portrayed a dangerous act Corner which might invite imitation by children, and should not be broadcast within the family viewing hours. 9.6.2000 My Father My Hero TVB Pearl Cantonese instead of English, which was the designated language of TVB Pearl, was transmitted on the conventional sound channel for about four minutes. 14.6.2000 Mojacko TVB Jade The animation was a children’s programme which failed to convey a clear message to children viewers that gambling was undesirable.
[Show full text]
How the Lion Rock Was Tempered: Early RTHK Dramas, Social Bonding, and Post-1967-Crisis Governance
Fall Symposium on Digital Scholarship 2020 @HKBU October 20, 2020 via Zoom How the Lion Rock Was Tempered: Early RTHK Dramas, Social Bonding, and Post-1967-Crisis Governance Dr. Kwok Kwan Kenny NG Associate Professor, Academy of Film, Hong Kong Baptist University Joy Kam Research Assistant Digital Database: TV Week magazine and movie scripts (1967-1997) Television Viewing Habit, Experience, and Community • Viewing time and viewing ritual • Household and publicness • Moral and social values (‘soft propaganda’) • Hong Kong’s economic takeoff in the 1970s and early 1980s “The shared experience amongst virtually the entire population enjoying the same television programs every day contributed a great deal to the creation of a unified cultural identity for the populace” (Kai-cheung Chan and Po-king Choi) Television in Hong Kong (Karin Gwinn Wilkins) • Commercial factors more than the political, social, or cultural • Laissez-faire; favor private enterprises and free trade • Apolitical and market-driven • Perpetuating a sense of local Hong Kong identity (at times with a larger Chinese community) Commercial Market vs. Public Service (Mark Hampton) • Government unconcerned with television’s cultural potential • Uninterested to promote British values • Not adopting a public service approach • Yet, after the 1967 riots, “the Government took a stronger hand in television, both for directly propagandistic purposes and to regulate it in response to public demands" in order to bridge “the communication ‘gap’ that had apparently developed between the government and people” How could public TV programs promote communication and legitimacy of governance? Lion Rock in the 1970s. Photo credit: Housing Authority Lion Rock in the 2010s.
[Show full text]
UNIVERSITY of CALIFORNIA SANTA CRUZ EVERYDAY IMAGININGS UNDER the LION ROCK: an ANALYSIS of IDENTITY FORMATION in HONG KONG a Di
UNIVERSITY OF CALIFORNIA SANTA CRUZ EVERYDAY IMAGININGS UNDER THE LION ROCK: AN ANALYSIS OF IDENTITY FORMATION IN HONG KONG A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in POLITICS by Sarah Y.T. Mak March 2013 The Dissertation of Sarah Y.T. Mak is approved: _______________________________ Professor Megan Thomas, Chair ________________________________ Professor Ben Read ________________________________ Professor Michael Urban ________________________________ Professor Lisa Rofel ______________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Sarah Y.T. Mak 2013 TABLE OF CONTENTS List of Figures ..................................................................................................................... v Abstract ...............................................................................................................................vi Acknowledgments.........................................................................................................viii CHAPTER ONE: INTRODUCTION ..............................................................................................1 I. SETTING THE SCENE .......................................................................................................1 II. THE HONG KONG CASE ............................................................................................. 15 III. THEORETICAL STARTING POINTS ...........................................................................
[Show full text]
Cantopop Songs of All Time!
THE GREATEST CANTOPOP SONGS OF ALL TIME! Forty years ago, Hong Kong saw the birth of Cantopop, a style of music which would become one of the city’s most iconic cultural offerings. To mark its 40th anniversary, Arthur Tam looks back over the history of the equally loved and derided genre – and explores its evolution and importance through its most beloved songs, one year at a time… 30 timeout.com.hk The early years The Fatal Irony <<啼笑姻緣>> Sandra Lang (仙杜拉) In 1974, during the boom of HK media, 1975 a theme song to a popular drama, << The Fatal Irony <<啼笑姻緣>>, would change everything. It became a massive hit, arguably becoming the 獅 first ever Cantopop song, and starting 子 the procession of not only theme tunes 山 1974 to every TV drama, but a new music 下 genre itself. It retains a resemblance >> to traditional Chinese harmonies and melodies, but enters a new world of pop. bit.ly/fatalirony1974 The first Cantopop songstress Sandra Lang The Chinese-American singer of arguably the first ever Cantopop hit, Fatal Irony <<啼笑姻緣>>, reflects on that song, four decades on… “It was great to have had Cantopop then or else the Cantonese language would have died. I was very Sam Hui (許冠傑) lucky to have Fatal Irony <<啼笑姻緣>>. It was a The Genius and the Idiot Featuring in the titular movie, which was gift from God. No one had ever done a song like this popularised due to its slapstick humour, before and it became popular because people are good listeners. I never claimed that Fatal Irony was the first Cantopop song, but that’s this song features a strong British rock just what people keep telling me.
[Show full text]
Rendering the Regional
Rendering the Regional Rendering the Regional LOCAL LANGUAGE IN CONTEMPORARY CHINESE MEDIA Edward M.Gunn University of Hawaiì Press Honolulu Publication of this book was aided by the Hull Memorial Publication Fund of Cornell University. ( 2006 University of Hawaiì Press All rights reserved Printed in the United States of America 111009080706654321 Library of Congress Cataloging-in-Publication Data Gunn, Edward M. Rendering the regional : local language in contemporary Chinese media / Edward M. Gunn. p. cm. Includes bibliographical references and index. ISBN 0-8248-2883-6 (alk. paper) 1. Language and cultureÐChina. 2. Language and cultureÐTaiwan. 3. Popular cultureÐChina. 4. Popular cultureÐTaiwan. I. Title. P35.5.C6G86 2005 306.4400951Ðdc22 2005004866 University of Hawaiì Press books are printed on acid-free paper and meet the guidelines for permanence and durability of the Council on Library Resources. Designed by University of Hawaiì Press Production Staff Printed by The Maple-Vail Book Manufacturing Group Contents List of Maps and Illustrations /vi Acknowledgments / vii A Note on Romanizations /ix Introduction / 1 1 (Im)pure Culture in Hong Kong / 17 2 Polyglot Pluralism and Taiwan / 60 3 Guilty Pleasures on the Mainland Stage and in Broadcast Media / 108 4 Inadequacies Explored: Fiction and Film in Mainland China / 157 Conclusion: The Rhetoric of Local Languages / 204 Notes / 211 Sources Cited / 231 Index / 251 ±v± List of Maps and Illustrations Figure 1. Map showing distribution of Sinitic (Han) Languages / 2 Figure 2. Map of locations cited in the text / 6 Figure 3. The Hong Kong ®lm Cageman /42 Figure 4. Illustrated romance and pornography in Hong Kong / 46 Figure 5.
[Show full text]
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
[Show full text]
Released on 24 May 2016)
Complaints dealt with by the Communications Authority (“CA”) (released on 24 May 2016) The CA considered the following cases which had been deliberated by the Broadcast Complaints Committee (“BCC”) – Complaint Cases 1. Television Programme “TV Awards Presentation 2015” (萬千星輝頒獎典禮 2015) 2. Television Programme “Below The Lion Rock 2015” (獅子山下2015) 3. Television Programmes “Good Morning Hong Kong” (香港早晨) and “News Report” (新聞報道) 4. Television Programme “now Noon News” (now午間新聞) 5. Simulcast Arrangement on Metro Music Digital (“MMD”) and Metro Life Digital (“MLD”) 6. Cessation of News Programmes of Asia Television Limited (“ATV”) 7. Broadcast of Current Affairs Programmes by ATV 8. Television Programme “TVB 48th Anniversary Gala” (萬千星輝賀台慶) 9. News Reports on the Incident in Mong Kok on 9 February 2016 The CA also considered cases of dissatisfaction with the decisions of the Director-General of Communications (“DG Com”) on complaint cases. Having considered the recommendations of the BCC, the CA decided– 1. that a financial penalty of $150,000 be imposed on Television Broadcasts Limited (“TVB”) on the complaints related to the television programme “TV Awards Presentation 2015” (萬千星輝頒獎典禮2015); 2. that a strong advice be given to Radio Television Hong Kong (“RTHK”) on the complaints related to the television programme “Below The Lion Rock 2015” (獅子山下2015); 3. that a strong advice be given to TVB on the complaints related to the television programmes “Good Morning Hong Kong” (香港早晨) and “News Report” (新聞報道); 4. that an advice be given to PCCW Media Limited (“now TV”) on the complaint related to the television programme “now Noon News” (now午間新聞); 5. that the complaints regarding the simulcast arrangement on MMD and MLD are substantiated.
[Show full text]
Listening to Chinese Music
Listening to Chinese Music 1 Listening to Chinese Music This article is an English translation of part of the book Listening to Chinese Music 《中國音樂導賞》edited by Chuen-Fung Wong (黃泉鋒) and published by the Hong Kong Commercial Press in 2009 as a project of the Chinese Music Archive of the Chinese University of Hong Kong. With the permission by the Chinese Music Archive, this article is uploaded onto the Education Bureau’s website for teachers’ and students’ reference. As for the recordings of selected music, please refer to the CDs accompanying the printed copy of the Chinese version. © The Chinese Music Archive, the Chinese University of Hong Kong. All rights reserved. No part of this publication can be reproduced in any form or by any means. 2 Contents Foreword…………………………………………………………………………………..5 Translator’s Preface……………………………………………………………………….6 Chapter 1 Modern Chinese Orchestra ............................................................................. 8 Section 1 The Rise of the Modern Chinese Orchestra ......................................................... 9 Section 2 Instruments Used in the Modern Chinese Orchestra .......................................... 10 Section 3 The Characteristics of Chinese Orchestral Music and Its Genres ....................... 11 Section 4 The “Improvement” of Chinese Instruments ...................................................... 13 Section 5 The Development of Modern Chinese Orchestra ............................................... 15 Listening Guide ...................................................................................................................
[Show full text]
How Hong Kong People Use Hong Kong Disneyland
Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Cultural Studies 2007 Remade in Hong Kong : how Hong Kong people use Hong Kong Disneyland Wing Yee, Kimburley CHOI Follow this and additional works at: https://commons.ln.edu.hk/cs_etd Part of the Race, Ethnicity and Post-Colonial Studies Commons, and the Sociology of Culture Commons Recommended Citation Choi, W. Y. K. (2007). Remade in Hong Kong: How Hong Kong people use Hong Kong Disneyland (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/cs_etd.6 This Thesis is brought to you for free and open access by the Department of Cultural Studies at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. REMADE IN HONG KONG HOW HONG KONG PEOPLE USE HONG KONG DISNEYLAND CHOI WING YEE KIMBURLEY PHD LINGNAN UNIVERSITY 2007 REMADE IN HONG KONG HOW HONG KONG PEOPLE USE HONG KONG DISNEYLAND by CHOI Wing Yee Kimburley A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Arts (Cultural Studies) Lingnan University 2007 ABSTRACT Remade in Hong Kong How Hong Kong People Use Hong Kong Disneyland by CHOI Wing Yee Kimburley Doctor of Philosophy Recent studies of globalization provide contrasting views of the cultural and sociopolitical effects of such major corporations as Disney as they invest transnationally and circulate their offerings around the world.
[Show full text]