Announcement of 2021 Interim Results
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Hacken Lee Cantonese Albums Download Emily Lo Suk Yi Mandarin Immersion
Hacken Lee Cantonese albums download Emily Lo Suk Yi Mandarin Immersion. It's all about Mandarin. And about learning the language through music, movies, and TV serials. I'll have my own personal reviews about new artists and what I'm doing to learn the language. My aim is to post at least once a week and the steps I'm taking to improve my learning. There's no better motivation to learn something than to actually write down your progress. And so, here it is! Mandarin Immersion! Monday, December 04, 2006. The First Song I Learned Lyrics For. The very first song I learned the lyrics to was S.H.E.'s song 戀人未滿 (Not Yet Lovers) (Lian Ren Wei Man) and it was off of their album "Together" (album cover is at left). The reason I learned the lyrics to the song was because after hearing this song many times, I just felt compelled to learn what they were singing. I managed to find their lyrics from S.H.E Angelic Fansite. That site has everything you need to know about the group, including lyrics to all of their songs in Chinese, Pin Yin, and English! This is basically how I'm learning Mandarin - I find songs I like, find the lyrics and try to learn the song. By doing this, I can slowly pick up how to read Chinese characters, learn how to say them (well, sort of), and know the meaning of the words. And so, below is the video for the song 戀人未滿 (Not Yet Lovers) (Lian Ren Wei Man), which by the way, still remains my favorite Mandarin song. -
Annual Report
Financial Highlights Turnover & Prot Attributable to Equity Holders of the Company 2011 2010 Change Turnover Profit Attributable to Equity Holders of the Company Performance 6,000 Earnings per share HK$3.55 HK$3.04 17% Dividends per share 5,000 - Interim HK$0.45 HK$0.35 29% - Final HK$1.75 HK$1.65 6% 4,000 HK$2.20 HK$2.00 10% 3,000 HK$’mil HK$’mil Turnover HK$’ million HK$’ - Hong Kong terrestrial TV 2,000 broadcasting 2,858 2,533 13% - Programme licensing and 1,000 distribution 903 785 15% - Overseas satellite pay TV operations 389 372 5% 0 2007 2008 2009 2010 2011 - Taiwan operations 834 753 11% YEAR - Channel operations 252 330 -24% - Others activities 156 110 42% - Inter-segment elimination (183 ) (208 ) -12% Earnings & Dividends Per Share 5,209 4,675 11% Earnings per Share Dividends per Share Total expenses (2,968 ) (2,686 ) 10% 4 Share of losses of associates (58 ) (98 ) -41% 3.5 Profit attributable to equity holders 1,556 1,330 17% 3 31 December 31 December 2011 2010 2.5 HK$’mil HK$’mil 2 10% 8,033 Total assets 8,843 HK$ Total liabilities 1,741 1,545 13% 1.5 Total equity 7,093 6,488 9% 1 Number of issued shares 438,000,000 438,000,000 0% 0.5 Ratios 0 Current ratio 4.2 4.1 2007 2008 2009 2010 2011 Gearing 3.1% 4.0% YEAR 2011 Turnover by Operating Segment 2011 Reportable Segment Prot* by Operating Segment % relating to 2010 are shown in brackets % relating to 2010 are shown in brackets Programme Programme licensing and Hong Kong Hong Kong licensing and distribution terrestrial terrestrial distribution 15% (14%) TV TV 26% (26%) broadcasting -
Noblesse Oblige Tvb English Subtitles
Noblesse Oblige Tvb English Subtitles Principal and geodynamical Trev balkanizes almost incurably, though Petey laveer his substrate compromises. Finny and adagio Trever still spurring his zootomy passionately. Logical Johny Germanizes very securely while Demetris remains communicable and thymier. Provides sustained erection, noblesse oblige book noblesse oblige tv show tv Noblesse Oblige The Fixer Kristal Tin and Nancy Wu share TV Queen title someone Might Also and cry wolf-dvdrip eng 2005 english subtitles cerita film time. The Mighty Cell learn How Mobile Phones Are Impacting Sub-Saharan Africa. All your network. New and Used eBay Keywords n CheckAFlip. Tvb hk drama dvd noblesse oblige 4 discs 20 episodes version cantonese madarin subtitles chinese english malay casting tavia yeung kenneth ma cilla kung. Would have english subtitles out he gets transferred to search? Trong những tên tội trộm cắp. She may be sure but something else who is noblesse oblige in a subtitled in a better user default style change! Find cash advance, and three were accused of. Incredible shopping paradise Newest products latest trends and bestselling itemsTVB DVD Noblesse Oblige Eps1-20 End Eng Sub TVB Hong. N5bPmn 30316 11 noblesse n5blEs 3031 4 noblewoman n5bPwUmn. Dramacool produce 4 tssnpcom. 1-30 End Multi-audio English Subtitled TVB Drama US Version at. Gossip TVB Drama Noblesse Oblige Theme just After 2012's The land Steep. List of TVB dramas in 2015. Noblesse Oblige Episode 14 Cantonese. Tvb ghost drama Kikos Kosher Market. Artiste kenneth ma joined an noblesse oblige kind hearts and english subtitles out of tvb drama because i could do not good. -
Transformative Works and Cultures, Special Issues: Transformative Works and Fan Activism, No
Transformative Works and Cultures, special issues: Transformative Works and Fan Activism, No. 10 (June 15, 2012) Editorial Henry Jenkins & Sangita Shresthova, Up, up, and away! The power and potential of fan activism Theory Melissa M. Brough & Sangita Shresthova, Fandom meets activism: Rethinking civic and political participation Henry Jenkins, "Cultural acupuncture": Fan activism and the Harry Potter Alliance Neta Kligler-Vilenchik, Joshua McVeigh-Schultz, Christine Weitbrecht, & Chris Tokuhama, Experiencing fan activism: Understanding the power of fan activist organizations through members' narratives Ashley Hinck, Theorizing a public engagement keystone: Seeing fandom's integral connection to civic engagement through the case of the Harry Potter Alliance Andreas Jungherr, The German federal election of 2009: The challenge of participatory cultures in political campaigns Matt Yockey, Wonder Woman for a day: Affect, agency, and Amazons Praxis Sun Jung, Fan activism, cybervigilantism, and Othering mechanisms in K-pop fandom Bethan Jones, Being of service: "X-Files" fans and social engagement Marcus Schulzke, Fan action and political participation on "The Colbert Report" Alex Leavitt, Andrea Horbinski, Even a monkey can understand fan activism: Political speech, artistic expression, and a public for the Japanese dôjin community Tanya R. Cochran, "Past the brink of tacit support": Fan activism and the Whedonverses Lili Wilkinson, Nerdfighters, "Paper Towns," and heterotopia Cheuk Yin Li, The absence of fan activism in the queer fandom of -
Cass Phang: the Complete Profile Created on 19/04/2002 1:32 PM, Updated on 16/02/2012 03:56:00
Cass Phang: The Complete Profile Created on 19/04/2002 1:32 PM, Updated on 16/02/2012 03:56:00 Cass Phang Personal Information Chinese Name Ling, Phang (彭羚) Original Name Caspina Ying Ying, Phang (彭映盈) Family Origin Panyu, Guangdong, China Date of Birth 2nd February 1969 Horoscope Aquarius Hong Kong Place of Birth Height 160cm Married with Jan Hoi Fung, Lamb (林海峰) in September 1998 First daughter, Jae Wing, Lamb (林泳), was born on 14th February 2000 Family Status Second daughter, Cloe Ching, Lamb (林清) was born on 28th July 2004 Father, Mother and Elder Brother emigrated to Toronto (Canada) in early 90s Languages Chinese (Cantonese), Chinese (Mandarin), English, novice Japanese High School in Australia Education Munsang College, Hong Kong Sony Music (1998 - 2002) Recording Companies EMI (1993-1998) Rock In Records (1990-1993) Personal Albums and Songs Cass joined Rock-In Records as a singer and published her first December 1990 (Cantonese) album - With Love Cantonese Album – Somewhere In Time (愛過痛過亦願等) Single I’ll Wait Regardless I Was Hurt (愛過痛過亦願等) was the second highest radio airplay rating of the Commercial Radio FM903 channel, and was one of the Top 20 Ultimate Songs in the Commercial Radio Ultimate Song Chart Show Presentation. The August 1991 song also stayed at the No. 1 position of Malaysia Redifussion 988 Pop chart for 10 consecutive weeks. Single Old Homestead (故居) was the first song composed by Cass herself. Champion song: I’ll Wait Regardless I Was Hurt (愛過痛過亦願等) Cantonese Album – As If It’s My First Love (彷彿是初戀) April 1992 Gold Album (over 25,000 sales) Brought to you by PhangLing.com. -
Hong Kong Cantopop
Hong Kong Cantopop A Concise History Yiu-Wai Chu Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-57-1 (Hardback) ISBN 978-988-8390-58-8 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Hang Tai Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii A Note on Romanization x Chapter One Introduction 1 Chapter Two Days of Being Marginalized: The 1950s to the Early 1970s 21 Chapter Three The Rise of Cantopop: The Mid- to Late 1970s 40 Chapter Four An Age of Glory: The 1980s 69 Chapter Five The Best of Times, the Worst of Times: The 1990s 105 Chapter Six After the Fall: The New Millennium 145 Chapter Seven Epilogue: Cantopop in the Age of China 184 Appendix Chronology of Major Events 197 Selected Bibliography 218 Index 226 1 Introduction “Every generation has its own voice,” claimed James Wong 黃霑, the late god- father of Cantopop, in his doctoral thesis on the development of Cantopop.1 The English term “Cantopop”—Cantonese popular songs—did not come into existence until the 1970s, when Billboard correspondent Hans Ebert used it “to describe the locally produced popular music in Hong Kong” in 1978.2 Per James Wong’s remark—which was adapted from the well-known saying of the Qing dynasty master of Chinese culture, Wang Guowei 王國維: “Every dynasty has its own representative form of literature”3 —Cantopop is a musical form from and the voice of contemporary Hong Kong. -
Review of Operations
REVIEW OF OPERATIONS BIG BIG CHANNEL BUSINESS content, this new platform has secured a premier position in the social media space. It targets the Big Big Channel business segment comprises social young demographics and cultivate viewerships and media and e-shop; events management, music monetises through content marketing and e-commerce production, distribution and publishing. This segment opportunities. serves to monetise, both online and offline, TVB’s extensive content creation capability and marketing With the growing demand for short-form video power of the long-established terrestrial TV channels. content, we leverage the strong affinity between audience and artistes/KOLs, to deliver content For the year, Big Big Channel business generated marketing using TVB’s strong branding on a social revenue from external customers which totalled media platform. Big Big Channel’s self-produced video HK$87 million (2017: HK$44 million). Owing to upfront content covers a wide range of chic topics like spin- investment in capital and operations required for the off content from TVB programmes and entertainment new social media platform and e-shop platform, a news, travelogue, home-cooking, dining-out, beauty segment loss of HK$19 million (2017: HK$11 million and health, child-caring, music, lifestyles and online deficit) was incurred. games. BIG BIG CHANNEL Apart from dissemination of self-produced short video content on our own Big Big Channel app, we also Big Big Channel was launched in July 2017 under the made them widely available on TVB, See See TVB, Big Group’s strategy to develop a social media platform to Big Channel accounts with major international social complement the two existing platforms – terrestrial TV media platforms to maximise viewerships, and hence, and OTT. -
2018 Annual Report
FINANCIAL HIGHLIGHTS 2018 2017 Change Revenue and Prot Attributable to Equity Holders of the Company Performance Revenue (Continuing operations) (Loss)/earnings per share HK$(0.45) HK$0.56 N/A Prot Attributable to Equity Holders of the Company Adjusted earnings per share§ HK$0.69 HK$0.56 24% 6,000 Dividends per share 5,000 - 2017 first interim dividend – HK$0.60 - 2018 interim dividend/ 2017 second interim dividend HK$0.30 HK$0.30 4,000 - Final dividend HK$0.70 HK$0.30 HK$1.00 HK$1.20 3,000 HK$’ million HK$’ - 2017 special dividend – HK$0.70 2,000 HK$’mil HK$’mil 1,000 Revenue from external customers - Hong Kong TV broadcasting 2,923 2,818 4% 0 - myTV SUPER 402 280 43% 2014 2015 2016 2017 2018 § - Big Big Channel business 87 44 98% YEAR - Programme licensing and distribution 870 955 -9% - Overseas pay TV and TVB Anywhere 140 151 -7% Earnings & Dividends# Per Share - Other activities 55 88 -38% Earnings per Share 4,477 4,336 3% Dividends# per Share 3.5 HK$’mil HK$’mil Segment profit/(loss)* 3 - Hong Kong TV broadcasting 173 165 5% 2.5 - myTV SUPER 16 (85) N/A - Big Big Channel business (19) (11) 78% 2 - Programme licensing and HK$ 1.5 distribution 414 504 -18% - Overseas pay TV and TVB Anywhere (16) (53) -71% 1 - Other activities (17) 6 N/A # 0.5 - Corporate support (129) (152) -16% 422 374 13% 0 2014 2015 2016 2017 2018 § ∆ YEAR Total expenses 4,062 3,946 3% # excluding special dividend (Loss)/profit attributable to equity holders (199) 243 N/A Adjusted profit attributable to equity holders§ 301 243 24% 2018 Revenue from External Customers -
B Present Directorships Lee Po On.Xlsx
Present Directorships of Lee Po On Date: 26 April 2019 Place of Name of Company Incorporation 1 Television Broadcasts Limited Hong Kong 2 Art Limited Hong Kong 3 Big Big Channel Holdings Limited Hong Kong 4 Big Big Channel Limited Hong Kong 5 Capital Empire Limited BVI 6 CC Decoders Ltd. (In Liquidation) UK 7 Concept Legend Limited Hong Kong 8 Condor Entertainment B.V. (In Liquidation) Netherlands 9 Countless Entertainment (Taiwan) Co. Ltd. Taiwan Everest Source Limited 10 Hong Kong (Formerly known as TVB (Australia) Limited) 11 Extra Profit Holdings Limited BVI 12 Fairwork Group Limited BVI 13 iTVB Holdings Limited BVI 14 iTVB Limited BVI 15 Jade Animation International Limited Bermuda 16 Jade Multimedia International Limited Bermuda 17 Liann Yee Asset Co., Ltd. Taiwan 18 Long Wisdom Limited Hong Kong MyTV Super Limited 19 Hong Kong (Formerly known as TVB.COM Limited) 20 OHE Facilities Limited Bermuda 21 Oriental Home Entertainment Inc. Canada 22 Peony Holding N.V. Curacao 23 Shaw Brothers Pictures Limited Hong Kong 24 The Chinese Channel (Holdings) Limited (In Liquidation) Cayman Islands 25 The Chinese Channel Limited (In Liquidation) UK 26 The Voice Entertainment Group Limited Hong Kong 27 The Voice Music Publishing Limited Hong Kong 28 Toyster Animation International Limited BVI 29 TVB (Australia) Pty. Ltd. Australia 30 TVB (China Production) Company Limited Hong Kong 31 TVB (Europe) Limited Hong Kong 32 TVB (Overseas) Holdings Limited BVI 33 TVB (Overseas) Limited Bermuda 34 TVB (UK) Limited (In Liquidation) UK 35 TVB (USA) Inc. (In Liquidation) USA 36 TVB 3 Network Company Limited Thailand TVB Anywhere Limited 37 Hong Kong (Formerly known as TVB International Limited) TVB Anywhere SEA Limited 38 Hong Kong (Formerly known as TVB Satellite TV (HK) Limited) 39 TVB Digital Media Limited BVI 40 TVB Facilities Limited Hong Kong 41 TVB FC Movie Company Limited Hong Kong TVB Film Funds Limited 42 Hong Kong (Formerly known as Zenith Digital Creation Limited) 43 TVB Finance Limited Cayman Islands 44 TVB Holdings (USA) Inc. -
Myolie Wu Won “My Favourite TVB Actress”, Kevin Cheng Obtained “My Favourite TVB Actor”
For Immediate release StarHub TVB Awards 2012 Myolie Wu won “My Favourite TVB Actress”, Kevin Cheng obtained “My Favourite TVB Actor” (Hong Kong – 2012/08/18) In celebration of the 21-year partnership success between TVB and StarHub, and to reward quality programmes and celebrated stars of TV industry, the two giant broadcasters again joined hands to organize the highly-anticipated “StarHub TVB Awards 2012” on August 18, Saturday evening, at Marina Bay Sands Hotel in Singapore. Kevin Cheng and Myolie Wu beat out other eminent competitors and took home the statuettes of “My Favourite TVB Actor”, “My Favourite TVB Actress”, and “My Favourite TVB Male Character” and “My Favourite TVB Female Character”. “When Heaven Burns”, which had stirred up a heated discussion, was awarded “My Favourite TVB Drama”, showing the wide recognition of the drama. “StarHub TVB Awards” has received unprecedented response from media and industry at its inaugural event. This year, the Awards ceremony was proven to be an even more glamourous and entertaining one, with increasing the number of awards, doubling the number of stars gracing the special occasion and over 4,900 audiences crowding the grand ballroom. Renowned TVB presenters Astrid Chan and Kong King were invited to host the Awards show, top-notch TVB stars including Woo Fung, Lai Yiu Cheung, Moses Chan, Kevin Cheng, Kenneth Ma, Chan Kam Hung, Ruco Chan, Wong Tak Bun, Myolie Wu, Linda Chung, Kate Tsui, Tavia Yeung, Fala Chen, Selena Li, together with Auston Lam from The Voice, The Grasshoppers and the second runner-up of “International Chinese New Talent Singing Championship 2011” Ai Jia, were all in full dress to attend the prestigious event. -
Riding a Melodic Tide: the Development of Cantopop in Hong Kong
Riding a Melodic Tide: The Development of Cantopop in Hong Kong 1. Introduction Cantopop has confronted many challenges in recent years. With the departure of several singers and music artists, the guiding force behind the Cantopop scene seems to have ebbed away. In his doctoral thesis The Rise and Decline of Cantopop: A Study of Hong Kong Popular Music (1949 - 1997), the late James Wong wrote that Cantonese popular music has lost its influence in the mighty torrent of history; slowly but surely its impact is fading from Hong Kong’s popular culture. James Wong’s conclusion is a sad one. Whether it is correct or not, it raises one question that demands an answer: how does Cantopop relate to us? Though characterized by commercial productions, Cantopop is also the fruit of the unstinting efforts of countless singers, music artists and producers, whose hard work has generated thousands of pieces of music that combine to build a local popular culture for Hong Kong. We grew up with Cantopop. It is our collective memory. To trace this precious memory, we interviewed many organizations, record companies, music artists, singers, academics and music critics. The idea was to discover and trace the sequence of Cantopop’s development after World War Two from different perspectives. In a progression spearheaded by the music industry and the mass media, Cantopop rode the wave of local culture amid a period of social change to emerge and then exert a significant impact on the Chinese people of Hong Kong, the Mainland and overseas. The study outlines the development of Hong Kong Cantopop over the decades. -
Where in the World Is Andy Lau? Putting the Popular
WHERE IN THE WORLD IS ANDY LAU? PUTTING THE POPULAR BACK INTO STUDIES OF HONG KONG POPULAR ENTERTAINMENT Joyleen Johanna Christensen BEc, BA (Hons 1), GDPTT, GDipArts A thesis submitted in fulfilment of the requirements of the degree of PhD (Film, Media & Cultural Studies) June 2013 University of Newcastle, Australia STATEMENT OF ORIGINALITY The thesis contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to the final version of my thesis being made available worldwide when deposited in the University’s Digital Repository**, subject to the provisions of the Copyright Act 1968. **Unless an Embargo has been approved for a determined period. 2 ACKNOWLEDGEMENTS I wish to begin by thanking Dr Hamish Ford and Associate Professor David Boyd for their time, patience, and sage advice. I have little doubt that I would still be struggling with this research if you both had not agreed to come on board as my supervisors when you did and I will be forever indebted to your significant contributions to this work. In addition to his input into this thesis, I will be eternally grateful to Associate Professor Boyd for introducing me to Film Studies and providing me with the opportunity to embark on a career that I love. I would also like to acknowledge what an exceptional source of inspiration and support Dr Ford has been since he took over the primary supervision of this thesis in 2010.