Media Asia Group Holdings Limited 寰亞傳媒集團有限公司 (Stock Code 股份代號:8075)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Just As the Priests Have Their Wives”: Priests and Concubines in England, 1375-1549
“JUST AS THE PRIESTS HAVE THEIR WIVES”: PRIESTS AND CONCUBINES IN ENGLAND, 1375-1549 Janelle Werner A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2009 Approved by: Advisor: Professor Judith M. Bennett Reader: Professor Stanley Chojnacki Reader: Professor Barbara J. Harris Reader: Cynthia B. Herrup Reader: Brett Whalen © 2009 Janelle Werner ALL RIGHTS RESERVED ii ABSTRACT JANELLE WERNER: “Just As the Priests Have Their Wives”: Priests and Concubines in England, 1375-1549 (Under the direction of Judith M. Bennett) This project – the first in-depth analysis of clerical concubinage in medieval England – examines cultural perceptions of clerical sexual misbehavior as well as the lived experiences of priests, concubines, and their children. Although much has been written on the imposition of priestly celibacy during the Gregorian Reform and on its rejection during the Reformation, the history of clerical concubinage between these two watersheds has remained largely unstudied. My analysis is based primarily on archival records from Hereford, a diocese in the West Midlands that incorporated both English- and Welsh-speaking parishes and combines the quantitative analysis of documentary evidence with a close reading of pastoral and popular literature. Drawing on an episcopal visitation from 1397, the act books of the consistory court, and bishops’ registers, I argue that clerical concubinage occurred as frequently in England as elsewhere in late medieval Europe and that priests and their concubines were, to some extent, socially and culturally accepted in late medieval England. -
Hong Kong 20 Ans / 20 Films Rétrospective 20 Septembre - 11 Octobre
HONG KONG 20 ANS / 20 FILMS RÉTROSPECTIVE 20 SEPTEMBRE - 11 OCTOBRE À L’OCCASION DU 20e ANNIVERSAIRE DE LA RÉTROCESSION DE HONG KONG À LA CHINE CO-PRÉSENTÉ AVEC CREATE HONG KONG 36Infernal affairs CREATIVE VISIONS : HONG KONG CINEMA, 1997 – 2017 20 ANS DE CINÉMA À HONG KONG Avec la Cinémathèque, nous avons conçu une programmation destinée à célé- brer deux décennies de cinéma hongkongais. La période a connu un rétablis- sement économique et la consécration de plusieurs cinéastes dont la carrière est née durant les années 1990, sans compter la naissance d’une nouvelle génération d’auteurs. PERSISTANCE DE LA NOUVELLE VAGUE Notre sélection rend hommage à la créativité persistante des cinéastes de Hong Kong et au mariage improbable de deux tendances complémentaires : l’ambitieuse Nouvelle Vague artistique et le film d’action des années 1980. Bien qu’elle soit exclue de notre sélection, il est utile d’insister sur le fait que la production chinoise 20 ANS / FILMS KONG, HONG de cinéastes et de vedettes originaires de Hong Kong, tels que Jackie Chan, Donnie Yen, Stephen Chow et Tsui Hark, continue à caracoler en tête du box-office chinois. Les deux films Journey to the West avec Stephen Chow (le deuxième réalisé par Tsui Hark) et La Sirène (avec Stephen Chow également) ont connu un immense succès en République Populaire. Ils n’auraient pas été possibles sans l’œuvre antérieure de leurs auteurs, sans la souplesse formelle qui caractérise le cinéma de Hong Kong. L’histoire et l’avenir de l’industrie hongkongaise se lit clairement dans la carrière d’un pionnier de la Nouvelle Vague, Tsui Hark, qui a rodé son savoir-faire en matière d’effets spéciaux d’arts martiaux dans ses premières productions télévisuelles et cinématographiques à Hong Kong durant les années 70 et 80. -
Award-Winning Hong Kong Film Gallants to Premiere at Hong Kong
FOR IMMEDIATE RELEASE Award-winning Hong Kong film Gallants to premiere at Hong Kong Film Festival 2011 in Singapore One-week festival to feature a total of 10 titles including four new and four iconic 1990s Hong Kong films of action and romance comedy genres Singapore, 30 June 2011 – Movie-goers can look forward to a retro spin at the upcoming Hong Kong Film Festival 2011 (HKFF 2011) to be held from 14 to 20 July 2011 at Cathay Cineleisure Orchard. A winner of multiple awards at the Hong Kong Film Awards 2011, Gallants, will premiere at HKFF 2011. The action comedy film will take the audience down the memory lane of classic kung fu movies. Other new Hong Kong films to premiere at the festival include action drama Rebellion, youthful romance Breakup Club and Give Love. They are joined by retrospective titles - Swordsman II, Once Upon A Time in China II, A Chinese Odyssey: Pandora’s Box and All’s Well, Ends Well. Adding variety to the lineup is Quattro Hong Kong I and II, comprising a total of eight short films by renowned Hong Kong and Asian filmmakers commissioned by Brand Hong Kong and produced by the Hong Kong International Film Festival Society. The retrospective titles were selected in a voting exercise that took place via Facebook and SMS in May. Public were asked to select from a list of iconic 1990s Hong Kong films that they would like to catch on the big screen again. The list was nominated by three invited panelists, namely Randy Ang, local filmmaker; Wayne Lim, film reviewer for UW magazine; and Kenneth Kong, film reviewer for Radio 100.3. -
Filmart 2014 №1
DAILY MARCH 24, FILMART 2014 №1 THR.COM/FILMART China_3D_cover_Day1.indd 1 3/21/14 3:18 PM ASIAN PREMIERE INTERNATIONAL MARKET PREMIERE Mon, 24th Mar. Mon,/ 16:00 24th /Mar. AMC / 16:00 Pacific / AMC 4 Pacific/ By Invitation4 / Market (BY INVITATION ONLY) Tue, 25th Mar. / 10:00 / AMC Pacific 1 / By Invitation Tue, 25th Mar. / 10:00 / AMC Pacific 1 / Market (BY INVITATION ONLY) Fortissimo Films HKIFF + HK Filmart Booth: 1E - B09 To set up a meeting with us, please e-mail to [email protected] HK 2014_THR_another me.indd 1 2014/3/19 �� 8:32 Fortissimo FP_Day1.indd 1 3/19/14 11:18 AM MARCH 24, 2014 THR.COM/FILMART FILMART №1 HONG KONG TODAY TOMORROW WEATHER AND HIGH 73° F 71° F TEMPS 23° C 22° C IP MAN 3 Chinese Movie Boom Boosts Filmart KICKS INTO An increased presence from the Mainland sparks optimism among dealmakers hoping to HIGH GEAR grab a larger slice of the world’s fastest-growing film marketBy Clifford Coonan and Karen Chu By Karen Chu ong Kong Filmart is already Asia’s largest wait and see. It’s a curtain raiser for Cannes and egasus Motion Pictures film market in terms of exhibitor numbers, advance showcase for upcoming projects, and it is will begin filming Ip H but coming shortly before Cannes, it is increasingly well attended.” P Man 3 in early 2015. an annual challenge to convince buyers to open But the growing allure of Chinese-language With a budget of $30 mil- their wallets in Asia, rather than wait for the bigger movies makes Filmart ever more important to lion, the finale of the trilogy, European platform. -
“China Factor” in Contemporary Hong Kong Genre Cinema
Concentric: Literary and Cultural Studies 46.1 March 2020: 11-37 DOI: 10.6240/concentric.lit.202003_46(1).0002 Re-Negotiations of the “China Factor” in Contemporary Hong Kong Genre Cinema Ting-Ying Lin Department of Information and Communication Tamkang University, Taiwan Abstract Given the long-existing and multifaceted negotiations of the “China factor” in Hong Kong film history, this article centers on the political function of genre films by exploring how contemporary Hong Kong filmmakers utilize filmmaking as a flexible strategy to re-negotiate and reflect on the China factor concerning current post-handover political dynamics. By focusing on several recent Hong Kong genre films as case studies, it examines how the China factor is negotiated in Vulgaria (低俗喜劇 Disu xiju, 2012) and The Midnight After (那夜凌晨,我坐上了旺角開往大埔的紅 VAN Naye lingchen, wo zuoshang le Wangjiao kaiwang Dapu de hong van, 2014), considering the politics of languages alongside the imaginary of the disappearance of Hong Kong’s local cultures in the post-handover era. It also highlights two post-Umbrella- Revolution films, Trivisa ( 樹大招風 Shuda zhaofeng, 2016) and The Mobfathers (選老頂 Xuan lao ding, 2016), to explore how the China factor is negotiated in light of the collective anxieties of Hongkongers regarding the handover and controversies in the current electoral system of Hong Kong. By doing so, this article argues that the re-negotiations of the China factor in contemporary Hong Kong genre cinema have become more and more politically reflexive given the increasingly severe political interference of the Beijing sovereignty that has violated the autonomy of Hong Kong, while forming a discourse of resistance of Hongkongers against possible neo- colonialism from the Chinese authorities in the postcolonial city. -
Day 1 001 Ad Cover.Indd
MONDAY, MARCH 24 2014 DAY 1 AT FILMART www.ScreenDaily.com Editorial +852 2582 8959 Advertising +852 2582 8958 fatal_encounter-ad_245x266_fin_전달용 1 2014.3.14 5:41:12 PM MONDAY, MARCH 24 2014 TODAY DAY 1 AT FILMART Hot titles: Korea, page 16 www.ScreenDaily.com Editorial +852 2582 8959 Advertising +852 2582 8958 NEWS Pan-Asia Academy expands Hong Kong, Busan and Toyko outline Academy plans » Page 4 Desen teams with Weta REVIEWS The Midnight After Fruit Chan’s opening night film proves a quirky apocalyptic horror on 3D epic Zhong Kui » Page 10 Jamie Marks Is Dead BY LIZ SHACKLETON Weta Workshop is providing FEATURE China’s Desen International Media character and scenery design for Hot titles Celluloid Dreams has brought on board top VFX the fi lm, while its sister company Screen profiles Korean cinema houses including Peter Jackson’s Park Road Post works on compos- highlights acquires Jamie Weta Workshop for $27m 3D fan- iting. The film is one of the first » Page 16 tasy adventure Zhong Kui: Snow Chinese films to use full perfor- Marks Is Dead Girl And The Dark Crystal. mance capture, which will be han- SCREENINGS Acclaimed Hong Kong DoP dled by leading Korean VFX house » Page 19 BY JEAN NOH Peter Pau is serving as producer, Li Bingbing Macrograph (Journey To The West: France’s Celluloid Dreams has DoP and VFX director on the fi lm, Conquering The Demons). picked up international rights on which is currently shooting in stereographer Vincent E Toto Other behind-the-scenes talent Sundance competitor Jamie Marks China with Chen Kun, Li Bingbing, (Dredd). -
Annu a L Repo R T 20 17–1 8
ANNUAL REPORT 2017–18 From the Director he Lieberthal Rogel Center for Chinese Studies at the University of Michigan was established in 1961 when diplomatic relations Tbetween the PRC and the United States did not exist. With private foundation grants from the Mellon and Ford Foundations and support from the US Department of Education, the Center was part of a pioneering effort at Michigan to develop interdisciplinary centers focused on area expertise. From that time, scholars from different disciplinary backgrounds have congregated at the Center to learn from each other, to collaborate on research, and to teach students who share the same desire to acquire deep knowledge about China. More than half a century has passed, but the need for expertise and education on China is no less crucial now than it was then. The early initiatives to support Chinese Studies were motivated by Cold War concerns—conflict in Southeast Asia, the Taiwan Straits, balancing against the Soviet Union. In today’s world, China is no longer closed; its influence and global presence have expanded immensely. The US and China have learned to cooperate on many issues of global concern. However, in recent years, the competitive and conflictual side of the relationship has grown more prominent. We hear and read constantly of the trade war, the potential for a “new cold war”, and the looming University of Michigan Lieberthal-Rogel University “Thucydides Trap” when a hegemonic power is challenged by a rising upstart. In other words, what happens when an unstoppable force meets an immovable object. In an age that is no less anxious than the Cold War, our role in the University continues to be one that complements Michigan’s strong foundations in its schools and colleges and its impressive breadth of teaching and research. -
P Anorama International Holdings Vimited
C M Y CM MY CY CMY K WYcdfYbY Uch\fcYh_dcYa Tda[_c]g V_b_h\[ vqrusonpkl ^hheRNNjjjMeYcdfYbYMZdbM^` ,6/79879-;10 36 ;21 +-=5-6 ,:4-60: <3;2 4353;10 43-.343;= EJHKGI@CB>DF?A ScciYa X\edfh POOQ mt CHARACTERISTICS OF THE GROWTH ENTERPRISE MARKET (“GEM”) OF THE STOCK EXCHANGE OF HONG KONG LIMITED (THE “STOCK EXCHANGE”) GEM has been established as a market designed to accommodate companies to which a high investment risk may be attached. In particular, companies may list on GEM with neither a track record of profitability nor any obligation to forecast future profitability. Furthermore, there may be risks arising out of the emerging nature of companies listed on GEM and the business sectors or countries in which the companies operate. Prospective investors should be aware of the potential risks of investing in such companies and should make the decision to invest only after due and careful consideration. The greater risk profile and other characteristics of GEM mean that it is a market more suited to professional and other sophisticated investors. Given the emerging nature of companies listed on GEM, there is a risk that securities traded on GEM may be more susceptible to high market volatility than securities traded on the Main Board of the Stock Exchange and no assurance is given that there will be a liquid market in the securities traded on GEM. The principal means of information dissemination on GEM is publication on the Internet website operated by the Stock Exchange. Listed companies are not generally required to issue paid announcements in gazetted newspapers. -
Hansard Faithfully
LEGISLATIVE COUNCIL ― 6 June 2018 11523 OFFICIAL RECORD OF PROCEEDINGS Wednesday, 6 June 2018 The Council met at Eleven o'clock MEMBERS PRESENT: THE PRESIDENT THE HONOURABLE ANDREW LEUNG KWAN-YUEN, G.B.S., J.P. THE HONOURABLE JAMES TO KUN-SUN THE HONOURABLE LEUNG YIU-CHUNG THE HONOURABLE ABRAHAM SHEK LAI-HIM, G.B.S., J.P. THE HONOURABLE TOMMY CHEUNG YU-YAN, G.B.S., J.P. PROF THE HONOURABLE JOSEPH LEE KOK-LONG, S.B.S., J.P. THE HONOURABLE JEFFREY LAM KIN-FUNG, G.B.S., J.P. THE HONOURABLE WONG TING-KWONG, G.B.S., J.P. THE HONOURABLE STARRY LEE WAI-KING, S.B.S., J.P. THE HONOURABLE CHAN HAK-KAN, B.B.S., J.P. THE HONOURABLE CHAN KIN-POR, G.B.S., J.P. DR THE HONOURABLE PRISCILLA LEUNG MEI-FUN, S.B.S., J.P. THE HONOURABLE WONG KWOK-KIN, S.B.S., J.P. 11524 LEGISLATIVE COUNCIL ― 6 June 2018 THE HONOURABLE MRS REGINA IP LAU SUK-YEE, G.B.S., J.P. THE HONOURABLE PAUL TSE WAI-CHUN, J.P. THE HONOURABLE CLAUDIA MO THE HONOURABLE MICHAEL TIEN PUK-SUN, B.B.S., J.P. THE HONOURABLE STEVEN HO CHUN-YIN, B.B.S. THE HONOURABLE FRANKIE YICK CHI-MING, S.B.S., J.P. THE HONOURABLE WU CHI-WAI, M.H. THE HONOURABLE YIU SI-WING, B.B.S. THE HONOURABLE MA FUNG-KWOK, S.B.S., J.P. THE HONOURABLE CHARLES PETER MOK, J.P. THE HONOURABLE CHAN CHI-CHUEN THE HONOURABLE CHAN HAN-PAN, J.P. -
Programmers' Picks
42nd Seattle International Film Festival PROGRAMMERS’ PICKS presented by Francis Ford Coppola Winery MOON IN THE 12TH HOUSE - The only politics in this film are the politics of an estranged and broken family. The two young actresses in this film are mesmerizing and the film is beautifully Carl crafted by emerging female talent, Dorit Hakim. MORRIS FROM AMERICA - A 13 year-old African American teenager and his father struggle to fit into the very white town Spence of Heidelberg, Germany. The challenges of being black and misunderstood in a foreign country has the perfect balance of Festival Director & comedy and levity. Chief Curator NEWS FROM PLANET MARS - Terrific Belgian comic actor Francois Damiens stars as a middle-age man with a humdrum existence and Vincent Macaigne is the highly erratic meat cleaver carrying nutcase who wakes him up to the excitement of life. ANTONIA - In the unlikeliest of places I had some free time in PRESENTING PRINCESS SHAW - Amazing story, about a Buenos Aires and stumbled into this Italian film that woke me up YouTube singer that’s unknowingly made into an international to a discover poet in a beautifully crafted debut feature. singing sensation by Kutiman, an Israeli music producer on the other side of the world. BEING 17 - The directing chops of André Téchiné (Wild Reeds) with screenplay duties shared with Céline Sciamma (Girlhood) RED GRINGO - I never knew who Dean Reed was but I’ve always sets the stage for an explosive and contemporary take on the been fascinated by the repressed and overlooked history of Latin coming of age genre in a way that only could be conceived and America and this film opened my eyes to a crazy but true story of portrayedby the French. -
1 Yesterday Once More: Hong Kong-China Coproductions and The
1 Yesterday Once More: Hong Kong-China Coproductions and the Myth of Mainlandization Gary Bettinson, Lancaster University [email protected] Abstract: Since Ackbar Abbas theorized Hong Kong as a space of cultural ‘disappearance’ in the mid-1990s, critics have debated the extent to which local cultural forms have continued to recede, particularly as a corollary of Hong Kong’s increasing subjection to mainlandization. For several critics, the region’s cinema has already vanished from view, only to re-emerge in a brand new, distinctly Sinicized guise – that of ‘post-Hong Kong cinema,’ a mode of predominantly coproduced filmmaking that effaces traditional Hong Kong aesthetics and routines of film practice. So thoroughly has Hong Kong cinema been subsumed to China that its once ‘unique’ and ‘singular’ identity is no longer discernible. The shackles of PRC censorship now stifle free expression; Hong Kong’s classic genres have become obsolete; and the PRC’s vogue for ‘main melody’ films and the dapian (‘big film’) has straitened Hong Kong cinema’s range of storytelling options. Today, critics contend, Hong Kong filmmakers are severely constrained by Mainland bureaucracy and the exigencies of the China market. This article seeks to challenge these assumptions, contesting a set of apparent truisms concerning Mainland censorship, Hong Kong-China coproductions, and the dissipation or disappearance of Hong Kong’s local cinema and identity. The theory of mainlandization, I submit, denies the durability of Hong Kong’s standardized craft practices; its aesthetic traditions; and the facile ingenuity of its filmmakers. Keywords: Hong Kong-China coproductions; mainlandization; Hong Kong localism; PRC censorship; Hong Kong film style; film authorship. -
To Queer History: Gender, Borders, and Body Politics in Post-Handover Hong Kong Crime Films
Concentric: Literary and Cultural Studies 46.1 March 2020: 39-57 DOI: 10.6240/concentric.lit.202003_46(1).0003 From “Crisis of Masculinity” to Queer History: Gender, Borders, and Body Politics in Post-Handover Hong Kong Crime Films Leo Chia-Li Chu Science and Technology Studies University of British Columbia, Canada Abstract This paper will examine the ambivalences and contradictions in post-handover Hong Kong cinema through the lens of gender, border, and the body politic in three crime films. The first of them, Intruder (恐怖雞 Kongbu ji, 1997), released when sovereignty over Hong Kong had just been transferred from Britain to China, may evoke a “crisis of masculinity” through its border-crossing female antagonist; in contrast, the portrayal of women, as well as transgender and queer people, in Ming Ming (明明, 2006) and I Come with the Rain (2009), appears to be more nuanced. Reading the three films against one another and against established narratives about the city, I intend to investigate how these films adopt gendered narratives and the questions of border in the construction of identity politics in post-handover Hong Kong. By juxtaposing the fluid, unstable, and multi-faceted bodies of fictional characters with the city’s history, this paper argues that the representation of past and future in these films reflects the struggle to narrate anxiety and hope in post-handover Hong Kong. Keywords Hong Kong, crime films, handover, gender, border, body politic 40 Concentric 46.1 March 2020 Introduction The development of Hong Kong cinema reflects the evolution of the city as well as the imagination and construction of its present, past, and future.