Annual Report 2013/14
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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. -
Killing Time: the Handover and Its Afterlives
Hong Kong Studies, Vol. 1, No. 1 (Spring 2018), 100–115 Killing Time: The Handover and ,ts Afterlives Copyrighted Material of The Chinese University Press | AllCarlos Rights ReservedRojas Abstract This essay uses an analysis of Fruit Chan’s 2016 film Kill Time to reflect on the legacy of the Handover, and on the significance of its upcoming twentieth—and, later, fiftieth—anniversaries. Although Chan’s film is set in contemporary Beijing, is based on a novel by a Painland Chinese author, and at first glance appears to have little to do with Hong Kong, this essay argues that if we look beyond the film’s surface narrative, we find that the work explores a set of concerns relevant to the Handover and its legacies. Of particular interest is the sense of anticipation and anxiety that the Handover has generated, as well as the sense of potentiality and foreboding contained in the 1984 Sino-British Joint Declaration’s guarantee that Hong Kong would enjoy a post-Handover moratorium of “fifty years without change.” At the same time, [the Handover] also should not become a black hole that we pretend doesn’t exist so that we don’t need to approach it or touch it. Therefore, in 1997 I resolved to write not about its present, but rather about its past while at the same time writing about its future. From a future vantage point I sought to reconstruct the past; and from a past vantage point I sought to project the future. From this deliberate interweaving of past and future, I hope that a present that is more full of possibility might gradually emerge. -
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 -
The Quint : an Interdisciplinary Quarterly from the North 1 the Quint Volume Eleven Issue Three
the quint : an interdisciplinary quarterly from the north 1 the quint volume eleven issue three an interdisciplinary quarterly from the north guest editor Ying Kong ISSN 1920-1028 editor Sue Matheson the quint welcomes submissions. See our guide- lines or contact us at: film review editor the quint Antonio Sanna University College of the North P.O. Box 3000 The Pas, Manitoba Canada R9A 1K7 We cannot be held responsible for unsolicited material production: Sue Matheson cover photo: Jian Tang A quarterly journal, the quint is housed in the Faculty of Arts, Business and Science at the Uni- versity of the North. The encouragement and support of this project by the Vice President Aca- demic of the University College of the North is deeply appreciated. Copyright 2019© the quint for the contributors. No part of this publication may be reproduced. 2 Volume 11.3 (June 2019) Editorial Advisory Board Moshen Ashtiany, Columbia University Joseph Atoyebi, University College of the North Brenda Austin-Smith, University of Manitoba Keith Batterbe. University of Turku Donald Beecher, Carleton University Melanie Belmore, University College of the North Gerald Bowler, Independent Scholar Robert Budde, University Northern British Columbia John Butler, Independent Scholar David Carpenter, Professor Emeritus, University of Saskatchewan Terrence Craig, Mount Allison University Lynn Echevarria, Yukon College Erwin Erdhardt, III, University of Cincinnati Peter Falconer, University of Bristol Peter Geller, University of the Fraser Valley Susan Gold, University -
Junior School Headmistress' Report 2011-2012
Junior School Headmistress’ Report 2011-2012 Farmer’s Plot in the Middle Garden, the Club’s next step is to grow vegetables using the organic farming method. The 2011-2012 school year was a very memorable year in the history of the School. It marked the first year of operation in the A recently conducted survey revealed that the girls’ favourite redeveloped Jordan Road Campus. The transition to the new place in the School is the library. The reading castle has been turned premises was smooth, allowing teaching and learning to be continued into a reading cottage, which sparks imagination and creativity. effectively. All major activities at the beginning of the school year Each morning, the whole school begins with the Assembly in the were not affected by the relocating process. On top of the regular spacious Junior School Hall. At last, all teachers and students can school schedule was the different logistics planning for the new assemble comfortably to be nurtured by Christian sharing, and enjoy environment. The School worked out specific dates for each primary different presentations and performances after our worship. level to attend school at the new campus on the first two days in September, 2011. The School provided different opportunities for The state-of-the-art school campus is equipped with a number staff members, parents and students to familiarise themselves with of new facilities. As you enter the Gascoigne Road entrance to the the new school environment. The timetables of the Junior School and Junior School, you will see at once a landscaped courtyard. -
Development of Local Film Industry Over Past 40 Years
F5 IES Product P a g e | 1 School: Liberal Studies (2013-2014) IES Title: Development of local film industry over past 40 years. Focus Questions: 1) What are the unique characteristics of local films that engage Hong Kong people in the over past 30 years? 2) Comparing between Hollywood and local movie, what is the acceptance level of local people towards them? 3) What reasons may lead to the declination of Hong Kong local film industry? 4) How can different stakeholders help to maintain the development of local film industry? Name: Class: Class No.: Supervising Teacher: Date of Submission: F5 IES Product P a g e | 2 Section I: Table of Contents Section I Table of contents Page 2 Section II Background Information Page 3 Section III Enquiry Method Page 4 Section IV Findings and Discussion Page 5-35 Section V Conclusion and Recommendation Page 36 Section VI: Reflection Page 37 Section VII: Bibliography Page 38 Section VIII: Appendix Page 39 F5 IES Product P a g e | 3 Section III: Background Information Film is an ingrained industry and one of the popular cultures in Hong Kong. Producing a movie is not similar to write a novel. Writing is a personal job but a movie production includes assortment of techniques and also about a group of team work. It gathers the painstaking effort of tones of people meanwhile conveys inspiration to the audience and gives them a whale of a time. In 80s, the thriving of film industry, the variety of the topic were very wide and there were electrifying and astonishing products invariably. -
A Chinese Odyssey Part Two Cinderell
A chinese odyssey part two cinderell Continue Chinese OdysseyHong Kong Blu-ray disk box seted byJeffrey LauProduced byYeung Kwok-faiWritten by ChowWu'enStarringStephen ChowAthena ChuNg Man-tatYammie LamKaren MokLaw Kar-yingJeffrey LauLu ShumingAda ChoiMusic zhao JipingLowell LoCinematographyPoon Hang-SangRey WongWilliam YimEdited byHai Kit-waiProductioncompany Xi'an Film StudioCho The Film Company DistributedSan BoMega StarMedia AsiaRelease Date January 21, 1995 (1995-01-21) (Part 1) February 4, 1995 (1 995-02-04) (Part 2) Duration Part 1: 87 minutesPart 2: 95 minutesCountryHong KongLanguageCantonese (original) Mandarin (dub)Box officePart 1 : HK$25,093,380Part 2: HK$20,872,117 ; CN-189.202 million (mainland China) Chinese Odyssey Part 1: Pandora BoxTraditional Chinese⻄遊記第壹佰零壹回之⽉光寶盒Exored Chinese⻄游记第回之⽉光宝盒百零TransscriptsStanding MandarinHanyu Pinyinsya Yībǎilíngyī Yuk Jun BǎohéYue: CantoneseJyutpingSai1-jau4-gei3 Dai6 Jat1-baak3-ling4-jat1 Wui4 qi1 Jyut6-gwong1 Bou2-hap6A Chinese Odyssey Part 2: CinderellaTraditive Chinese⻄遊記結局之仙履奇緣Oui enhanced Chinese⻄游记结局之仙履奇缘TransscriptursStandard MandarinHanyu Pinyinchiaye Jie Jiyo Xiānlǚ zuanue: Canton Canton JeseyutpingSai1-jau4-gei3 Dai6 Git3-guk6 z1 Sin1-leoi5 Kei4-jyun4 Chinese Odyssey is a two-part 1995 fantasy-comedy film directed by Jeffrey Lau and starring Stephen Chow. The first part is called Chinese Odyssey Part One: Pandora's Box while the second is called Chinese Odyssey Part Two: Cinderella. The film is very loosely based on Wu Cheng'en's 16th century novel Journey to the West. The third film, Chinese Odyssey Part Three, was released in China on September 14, 2016. Plot Part One 500 years ago, during their journey west to bring Buddhist scriptures, the Monkey was irritated by the constant whining of its master, the Monk of Longevity, and decided to betray him. -
百部不可不看的香港電影》遴選小組 “100 Must-See Hong Kong Movies”Selection Panel 羅卡 Law Kar 李焯桃 Lee Cheuk-To 蒲鋒 Po Fung 舒琪 Shu Kei 黃愛玲 Wong Ain-Ling 何思穎 Sam Ho
百部不可不看的 香港電影 香港電影名揚海內外,影響深 語言的窒礙,而在本土以外寂寂無名 而遽然有了不論是外貌抑或意識形態上 方,也不代表它就是最權威的、最終的 遠,已是一個毋容爭辯的事實:它以僅 (即使在自身的城市裡,也不見得有特 的重大改變。這份改變還沒全部完成, 結論。更重要的目的,正正是透過這樣 僅「地區電影」(或『方言電影』)的 別顯著的地位),這實在是不公平的 短促的時間距離,無法讓我們釐清它的 的一個初步倡議,從而激發起更廣泛和 身份,卻足以躋身國際,與一眾「民族 (無論是對墾荒時代的偉大先輩們,抑 線索與脈絡,遂以此為分界線。 延續性的討論、修正。 電影」(或『國家電影』)並排而立。 或後來一代的「教育」而言)。《百部 籌劃這個節目的另一目的,是想 當然,講乜都係假。電影是拍來 註 在這方面,它最大的成就,應是以其最 不可不看的香港電影》這項節目,就是 引入「殿堂作品」 這項討論。藝術評 看的。所以我們喚這節目作《百部不可 擅長的動作片,尤其是它的動作設計、 意圖糾正這個缺失:首先是把「香港電 論每重境界,殿堂屬最高領域。能「登 不「看」的香港電影》,而非什麼「史 武打形式,還有混合了搞笑錯摸的混雜 影」這個名詞,重新界定時間版圖,上 堂入室」者,除了作品成績出類拔萃 上最佳/最強」。由十月開始,每月獻 風格,改變了全世界電影拍攝動作場面 溯至默片時期(1916年,有着重要歷 外,還包含了開拓性和影響力方面的考 映兩部,配合講座、對話,以饗大眾。 (如果不是整個類型的話)的樣貌與方 史意義的紀錄片《經巡中國》),中間 慮。名單中的一百部作品,由六位對香 排片方法,則盡量採取一遠一近、或可 法。不過,嚴格來說,這項成就其實僅 發展時期則囊括了國、粵語發音(不論 港電影長期研究和發表良多的評論人, 資有所比對/比較者,以求增添更多的 局限於上世紀八、九十年代的「港產 是前期的片廠現場收音,抑是後來的全 暨香港電影資料館的代表(羅卡、黃 趣味性,從更多的角度進行探索。 片」。香港電影有着悠長久遠的歷史, 面後期配音,或是當代的兩者混合), 愛玲、舒琪、李焯桃、何思穎、蒲鋒) 它在五十年代迄七十年代初期生產的大 左、中、右不同政治立場,和片廠或 聯合推選,在反覆討論的過程中,均以 註: 「殿堂作品」即英語的canon,通常譯 為「經典」,但容易與意義相差很大的 量粵語片、中間從無間斷過拍攝的國語 獨立製作的所有佳作。選片的句號暫 「殿堂作品」概念作為出發點。當然, 「classic」混淆。 片(六十年代末期起成為主流,更一度 時畫分在踏進千禧年的門檻前(2000 現在的結果,特別是在「一百」這個範 壟斷了整個市場),以至少量的潮語 年),除了是因為新世紀的揭幕,還因 圍的局限底下,難免牽涉個人喜好的傾 舒琪 片、廈語片,都因着拷貝的嚴重流失、 為有鑑於香港回歸之初,其電影也隨之 向,和可以爭論、或被忽略、遺漏的地 香港演藝學院電影電視學院院長 ~ 32 ~ ~ 3 ~ 100 Hong Must-See Kong Movies There are many good movies in the The films in the programme Li Cheuk-to, Artistic Director of practiced in Hong Kong, film history of Hong Kong. Most citizens represent Hong Kong cinema from the Hong Kong International Film undeniably has the most profound of the SAR are aware that we have its early years to the end of the 20th Festival; and Shu Kei, Dean of the impact on the rest of the world. -
Chinese Odyssey 2002 Tian Xia Wu Shuang
60 Chinese Odyssey 2002 Tian xia wu shuang Regie: Jeff Lau Land: Hong Kong 2002. Produktion: Jet Tone Films Limited. Regie: Note Jeff Lau. Buch: Ji An (d.i. Jeff Lau). Kamera: Ngor Chi-kwan. Aus- The Cantonese title of the film is ‘Tin gwong miu seung.’ stattung: Tony Au. Kostüme: William Chang Suk-ping. Musik: Frankie Chan, Tao Yi-mo, Roel A. Garcia. Schnitt: Wong Wing-ming. Produzen- Synopsis ten: Wong Kar-wai, Jacky Pang, Zhuo Wu. Executive Producers: Chan In Ming Dynasty China, two pairs of siblings are destined Ye-cheng, Zhu Yong-de. Associate Producer: Chan Wai-chung, Law for each other. But fate throws countless obstacles in the Hing-man, Zhong Zheng. path of their happiness. One pair is high-born: the young Darsteller: Tony Leung Chiu-wai (Li Yilong), Faye Wong (Prinzessin Emperor and his sister Wushuang, both confined to the Wushuang), Vicky Zhao Wei (Phoenix), Chang Chen (Kaiser Zheng De), Imperial Palace and very much under the thumb of their Rebecca Pan (Kaiserin-Witwe), Athena Chu Yan (Amour Amour). mother, the Empress Dowager. The other pair is decidedly Format: 35mm, 1:1.85, Farbe. Länge: 105 Minuten, 24 Bilder/Sek. low-born: the wanderer Li Yilong (known as King Bully for Sprache: Chinesisch (Mandarin). the way he terrorised the town of Meilong in his youth) Uraufführung: 2.10.2002, Internationales Filmfestival, Vancouver. and his sister Phoenix, who still runs a restaurant in Meilong. Weltvertrieb: Fortissimo Film Sales, Veemarkt 77-79, 1019 DA Am- When both the young Emperor and his sister Wushuang sterdam, Niederlande. -
Changing Representations of Contemporary Mainland Women in Hong Kong Cinema: 1979~2009 香港電影中當代大陸女性形象的變遷: 1979~2009
Copyright Warning Use of this thesis/dissertation/project is for the purpose of private study or scholarly research only. Users must comply with the Copyright Ordinance. Anyone who consults this thesis/dissertation/project is understood to recognise that its copyright rests with its author and that no part of it may be reproduced without the author’s prior written consent. CITY UNIVERSITY OF HONG KONG 香港城市大學 Changing Representations of Contemporary Mainland Women in Hong Kong Cinema: 1979~2009 香港電影中當代大陸女性形象的變遷: 1979~2009 Submitted to School of Creative Media 創意媒體學院 in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy 哲學碩士學位 by Yang Meiyuan 楊梅媛 March 2010 二零一零年三月 Abstract This thesis studies the representation of mainland women in the last thirty years of Hong Kong cinema. Since 1980s, a number of Hong Kong films started to feature mainlanders, as the 1997 issue forced Hong Kong people to rethink their relationship with mainland China. Among these films, mainland women function quite differently to mainland men and in particular act as the “Other” in Hong Kong. As few researches notice this marginal group, I argue that they actually play a significant role and reflect how Hong Kong defines itself and mainland China when facing the power of the latter. Along with the development of both mainland and Hong Kong societies and the change of their power balance, the representations of mainland women vary. This thesis takes the representation of mainland women as the object of study, examining how it changes cinematically under different historical circumstance. Through gender study, culture study and cinematic language analysis, this thesis will investigate the cultural and gender politics behind the image of mainland women, fill the gap in the academic study and break a new path in the interpretation Hong Kong cinema. -
11-Mar-12 Perhatian
Update List : 11-Mar-12 Perhatian : List ini masih belum selesai disusun, baru sekitar 70 %, jadi kalo ada judul-judul yang kamu ingin tapi tidak tertera di list ini, tanyakan aku dulu saja. Kata The / a pada awal judul aku tiadakan demi kemudahan penyusunan Contoh : The New World --------> Lihatnya di huruf N untuk New World A Beautiful Mind -------> Lihatnya di huruf B untuk Beautiful Mind Judul DVD yang ada di katalog huruf,gambar sudah bagus,disc gold. Judul Serian kebanyakan DVD Gold, tapi belum tentu ada stock. Untuk keterangan lebih lanjut,hubungi aku via SMS di nomor 0852 214 67870 atau e-mail ke [email protected] CARA PEMESANAN : 1. SMS nama, pesanan dan kota kamu ke no HP. 0852 214 67870 Contoh : Aku Irwan, mau pesen : Engine, Lee So Young MV collection,K Beyond The Sea.Tinggal di Jakarta. 2. Tunggu SMS konfirmasi ketersediaan barang, total harga, ongkos kirim, rekening BCA Contoh : Engine 9cd@2000,lee so young 1cd@5000,K 1cd@3000,ongkir 5000.Total 31000. Transfer ke rek BCA XXXXXXXXX a.n XXXX cabang XXXX 3. Setelah transfer, SMS waktu dan jumlah uang yang ditransfer dengan alamat lengkap kamu Contoh : Sudah transfer 31000 jam 1 siang. Kirim ke Jl.xxxxxxxxx no.xx, Jakarta. 4. Pengiriman pada hari Senin & Kamis 5. Setelah barang dikirim, aku konfirmasi SMS ke kamu. Contoh : Sudah aku kirim hari ini. No resinya : XX XXX XXXX XXX. 6. Setelah barang sampai ke kamu, konfirmasi ke aku (dalam 10 hari setelah aku konfirmasi kirim barang) Contoh : Paket sudah sampai. 7. Kalau sudah lewat 10 hari, aku anggap barang sudah sampai ke kamu. -
Junior School Headmistress' Report 2013-2014
Junior School Headmistress’ Report 2013-2014 The year 2013-14 has been a special one for Diocesan Girls’ Junior School. Not only does it mark the 153rd anniversary since the founding of Diocesan Girls’ School in 1860, but it also marks the centenary celebration of the School’s relocation to her present site at 1 Jordan Road in Kowloon in 1913. The school year commenced in a festive mood as the School was still immersed in the atmosphere of the drama musical, “House of Wonders”, staged by DGS and DGJS in late August 2013. More than 200 Junior School students participated in the production and in their first few weeks of school, students eagerly reminisced with one another their favourite parts of the production and the time they spent with their friends during rehearsals. Euripides, a famous Greek playwright, once wrote, “Experience, travel – these are an education in themselves”. There is no education quite like the lessons learnt from travel. To broaden the students’ horizons by increasing their awareness and appreciation of diverse cultures, the School has organised overseas educational trips for our students in the past several years. Students have visited Macau, Xian, the United Kingdom, USA, etc., which gave them first-hand learning experiences in authentic environments. This year is one of many firsts. For the first time, all Primary Six students had the opportunity to visit a textile factory in Dongguan, China. For the first time, Primary Five and Six students welcomed buddies from Singapore into the DGJS classrooms; and in return, twenty Primary Six students attended school in Singapore for a week in the summer holidays.