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Paper Number: 63 May 2007 Before and After the Fall: Mapping Hong
Paper Number: 63 May 2007 Before and after the Fall: Mapping Hong Kong Cantopop in the Global Era Stephen Yiu-wai Chu Hong Kong Baptist University The author welcome comments from readers. Contact details: Stephen Yiu-wai Chu, Department of Chinese Language and Literature, Hong Kong Baptist University, Hong Kong Email: [email protected] David C. Lam Institute for East-West Studies (LEWI) Hong Kong Baptist University (HKBU) LEWI Working Paper Series is an endeavour of David C. Lam Institute for East-West Studies (LEWI), a consortium with 28 member universities, to foster dialogue among scholars in the field of East-West studies. Globalisation has multiplied and accelerated inter-cultural, inter-ethnic, and inter-religious encounters, intentionally or not. In a world where time and place are increasingly compressed and interaction between East and West grows in density, numbers, and spread, East-West studies has gained a renewed mandate. LEWI’s Working Paper Series provides a forum for the speedy and informal exchange of ideas, as scholars and academic institutions attempt to grapple with issues of an inter-cultural and global nature. Circulation of this series is free of charge. Comments should be addressed directly to authors. Abstracts of papers can be downloaded from the LEWI web page at http://www.hkbu.edu.hk/~lewi/publications.html. Manuscript Submission: Scholars in East-West studies at member universities who are interested in submitting a paper for publication should send an article manuscript, preferably in a Word file via e-mail, as well as a submission form (available online) to the Series Secretary at the address below. -
The Cultural Politics of Tobacco Control in Hong Kong
Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Cultural Studies 2009 Beyond public health : the cultural politics of tobacco control in Hong Kong Wai Yin CHAN Follow this and additional works at: https://commons.ln.edu.hk/cs_etd Part of the Critical and Cultural Studies Commons, Health Policy Commons, and the Social Control, Law, Crime, and Deviance Commons Recommended Citation Chan, W. Y. (2009).Beyond public health : the cultural politics of tobacco control in Hong Kong (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/cs_etd.4 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. BEYOND PUBLIC HEALTH: THE CULTURAL POLITICS OF TOBACCO CONTROL IN HONG KONG CHAN WAI YIN PHD LINGNAN UNIVERSITY 2009 BEYOND PUBLIC HEALTH: THE CULTURAL POLITICS OF TOBACCO CONTROL IN HONG KONG by CHAN Wai Yin A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Cultural Studies Lingnan University 2009 ABSTRACT Beyond Public Health: The Cultural Politics of Tobacco Control in Hong Kong by CHAN Wai Yin Doctor of Philosophy This work provides cultural and political explanations on how and why cigarette smoking has increasingly become an object of intolerance and control in Hong Kong. -
Independent Cinema in the Chinese Film Industry
Independent cinema in the Chinese film industry Tingting Song A thesis submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Faculty of Creative Industries Queensland University of Technology 2010 Abstract Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. i After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China. -
Big Four Coming to the Venetian Macao for Third Time Hong Kong Cantopop Stars to Perform at Venetian Theatre
Big Four Coming to The Venetian Macao for Third Time Hong Kong Cantopop stars to perform at Venetian Theatre (Macao, Oct. 30, 2014) – Cantopop stars Big Four will perform one night only at The Venetian® Macao’s Venetian Theatre on Friday, Nov. 21 with its WOW An Evening date with Big Four. Tickets go on sale Oct. 31 at all Cotai Ticketing box offices*. The band’s return to The Venetian Macao is part of an exciting weekend of superstar entertainment at the popular integrated resort. Sunday, Nov. 23 will also see the return of boxing icon Manny Pacquiao, as he takes on the undefeated Chris Algieri at Clash in Cotai II. Tickets are still available, priced HKD/MOP 880-24,080, so fans are urged to grab tickets now at www.cotaiticketing.com. Both events give visitors a chance to experience spectacular live entertainment while enjoying the convenience of The Venetian Macao’s diverse selection of world-class shopping and dining choices. Formed in 2009, Big Four is made up of friends Dicky Cheung, Andy Hui, William So and Edmond Leung. The Hong Kong actor-singers are set to entertain the Macao audience this November with WOW An Evening date with Big Four, a concert filled with their greatest hits, including “Big Four,” “Powerless to Help,” “The Pain of Men,” and “Man Should Not Make Woman Cry.” Tickets for the 8 p.m., Nov. 21 performance of WOW An Evening date with Big Four at the Venetian Theatre go on sale Friday, Oct. 31 via Cotai Ticketing and can be purchased for HKD/MOP 780 (A Reserve), 580 (B Reserve) and 380 (C Reserve); HKD/MOP 88 adds a round trip Cotai Water Jet ferry ticket between Hong Kong and * The Venetian Macao – Cotai Arena and Main Lobby box offices; Four Seasons Hotel Macao – The Plaza™ Macao box office; Sands® Macao – L1 box office; Sands® Cotai Central – Sheraton Main Lobby and Holiday Inn Main Lobby Page 1 of 3 Macao. -
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. -
Global Cities, Local Knowledge
Formatting and Change in East Asian Television Industries: Media Globalization and Regional Dynamics Lim, Wei Ling Tania Patricia BSocSc (Hons), MSc (Media & Comms) Creative Industries Research and Applications Centre Queensland University of Technology Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 2005 Keywords Circuit of cultural production, East Asian popular culture, Television industries, Field of broadcasting, Formatting, Local knowledge, Media capitals, Neo-networks, Regional dynamics, TV Formats, martial arts dramas, teenage idol soap operas, game-shows. ii Abstract Television is increasingly both global and local. Those television industries discussed in this thesis transact in an extensive neo-network of flows in talents, financing, and the latest forms of popular culture. These cities attempt to become media capitals but their status waxes and wanes, depending on their success in exporting their Asian media productions. What do marital arts dramas, interactive game-shows, children’s animation and teenage idol soap operas from East Asian television industries have in common? Through the systematic use of TV formatting strategies, these television genres have become the focus for indigenous cultural entrepreneurs located in the East Asian cities of Hong Kong, Singapore and Taipei to turn their local TV programmes into tradable culture. This thesis is a re-consideration of the impact of media globalisation on Asian television that re-imagines a new global media order. It suggests that there is a growing shift in perception and trade among once-peripheral television industries that they may be slowly de-centring Hollywood’s dominance by inserting East Asian popular entertainment into familiar formats or cultural spaces through embracing global yet local cultures of production. -
Shaw Brothers Films List
The Shaw Brothers Collection of Films on DVD Distributed by Celestial Pictures Collection 23 Titles grouped by year of original theatrical release (Request titles by ARSC Study Copy No.) ARSC Study Film Id English Title Chinese Title Director Genre Year Casts Copy No. Lin Dai 林黛, Chao Lei 趙雷, Yang Chi-ching 楊志卿, Lo Wei 1 DVD5517 M 156012 Diau Charn 貂蟬 Li Han-hsiang 李翰祥 Huangmei Opera 1956 羅維 DVD5518 M 1.1 (Karaoke Diau Charn 貂蟬 disc) Lin Dai 林黛, Chao Lei 趙雷, Chin Chuan 金銓, Yang Chi- 2 DVD5329 M 158005 Kingdom And The Beauty, The 江山美人 Li Han-hsiang 李翰祥 Huangmei Opera 1958 ching 楊志卿, Wong Yuen-loong 王元龍 Enchanting Shadow Lo Tih 樂蒂, Chao Lei 趙雷, Yang Chi-ching 楊志卿, Lo Chi 3 DVD5305 M 159005 倩女幽魂 Li Han-hsiang 李翰祥 Horror 1959 洛奇 Rear Entrance Butterfly Woo 胡蝶, Li Hsiang-chun 李香君, Chao Ming 趙明, 4 DVD5149 M 159016 後門 Li Han-hsiang 李翰祥 Drama 1959 (B/W) Chin Miao 井淼, Wang Ai-ming 王愛明, Wang Yin 王引 Lin Dai 林黛, Chao Lei 趙雷, Hung Por 洪波,Wang Yueh-ting 5 DVD5212 M 159021 Beyond The Great Wall 王昭君 Li Han-hsiang 李翰祥 Huangmei Opera 1959 王月汀, Chang Tsui-yin 張翠英, Li Yin 李英 Lin Dai 林黛, Chen Ho 陳厚, Fanny Fan 范麗, Kao Pao-shu 6 DVD5209 M 160004 Les Belles 千嬌百媚 Doe Chin 陶秦 Musical 1960 高寶樹, Mak Kay 麥基 7 DVD5433 M 160006 Magnificent Concubine, The 楊貴妃 Li Han-hsiang 李翰祥 Huangmei Opera 1960 Li Li-hua 李麗華, Yen Chuan 嚴俊, Li Hsiang-chun 李香君 Li Li-hua 李麗華, Chao Lei 趙雷, Chiao Chuang 喬莊, Lo Chi 8 DVD5452 M 160011 Empress Wu 武則天 Li Han-hsiang 李翰祥 Period Drama 1960 洛奇, Yu Feng-chi 俞鳳至 Loh Tih 樂蒂, Diana Chang Chung-wen 張仲文, Ting Ning 9 DVD5317 M 160020 Bride Napping, The -
Review of Operations
REVIEW OF OPERATIONS HONG KONG TV BROADCASTING As the most watched platform in Hong Kong, TVB channels continue to attract a diversified advertiser Hong Kong TV broadcasting business continued to be base. The fast moving consumer goods (“FMCG”) the largest revenue contributor, accounting for 65% of category continued to dominate our client base. the Group’s revenue. This segment includes Hong Kong Overall, the rankings of the key advertisers in the terrestrial TV broadcasting and the co-production of spending league table were maintained stable with drama serials partnering with leading Chinese online the five top spending categories mirroring those of last video platforms. During the year, segment revenue year. Milk powder secured the top spending position from external customers increased by HK$105 million but witnessed a further decline this year as the retail or 4% year-on-year from HK$2,818 million to HK$2,923 sales had persistently been affected by enforcement of million mainly due to higher co-production income the hand-carry limit for infant formula across border, earned during the year. a law introduced back in 2013. The second largest category, loan and mortgage companies continued ADVERTISING REVENUE to use TV commercials for their image-building campaigns and had increased spending from last year. The year of 2018 started on a fairly optimistic tone. Skincare category, secured the third position with an However, tensions arising from US-China trade disputes ad-spend growth reversing the downward trend since intensified since mid-year, bringing volatilities to 2014. But it is still too early to conclude a turnaround the stock markets around the world and dampening for this category. -
Limited Pidgin‑Type Patois? Policy, Language, Technology, Identity and the Experience of Canto‑Pop in Singapore
This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. Limited pidgin‑type patois? policy, language, technology, identity and the experience of canto‑pop in Singapore Liew, Kai Khiun 2003 Liew, K. K. (2003). Limited Pidgin‑Type Patois? Policy, Language, Technology, Identity and the Experience of Canto‑Pop in Singapore. Popular Music, 22(2), 217‑233. https://hdl.handle.net/10356/92192 https://doi.org/10.1017/S0261143003003131 © 2004 Institution of Engineering and Technology. This is the author created version of a work that has been peer reviewed and accepted for publication by IEE Proceedings Circuits Devices and Systems, Institution of Engineering and Technology. It incorporates referee’s comments but changes resulting from the publishing process, such as copyediting, structural formatting, may not be reflected in this document. The published version is available at: http://dx.doi.org/10.1049/ip‑cds:20040226. Downloaded on 26 Sep 2021 22:06:06 SGT Popular Music (2003) Volume 22/2. Copyright 2003 Cambridge University Press, pp. 217–233. DOI:10.1017/S0261143003003131 Printed in the United Kingdom Limited pidgin-type patois? Policy, language, technology, identity and the experience of Canto-pop in Singapore LIEW KAI KHIUN Abstract This article explores the interactions and tensions arising from a vibrant Canto-pop industry exported from Hong Kong to an interventionist nation-state of Singapore bent on discouraging the use of dialects by its ethnic Chinese population. Aside from highlighting the roles of technological and com- mercial factors behind the regional music networks, it seeks further to position this contemporary relationship within the larger historical and cultural context. -
Download PDF File Format Form
Foreword 2-3 Performance Pledges 4 Vision, Mission & Values 5 Leisure Services 6-28 Cultural Services 29-82 Administration 83-96 Feedback Channels 97 Appendices 98-121 1 Foreword The year 2015-16 was another fruitful one for the LCSD in its efforts to improve the quality of life of Hong Kong and enhance the physical and cultural well-being of people. Providing well-maintained and up-to-date facilities that meet the needs of our community remains our top priority. The Tiu Keng Leng Sports Centre and Public Library was one of the brand-new facilities that came into service during the year. We completed turf reconstruction at the Hong Kong Stadium, and carried out a major renovation of the Hong Kong Space Museum. We also pressed ahead with the upgrading and faceli of the Hong Kong Museum of Art, designed not only to increase the museum's exhibition space but also to enhance its visibility, accessibility, customer orientation and branding. Meanwhile, we were excited to begin construction of the new and much anticipated East Kowloon Cultural Centre. We continued to stage many colourful arts and cultural events during the year. One of the highlights was the first Muse Fest in the summer of 2015, which offered a rich celebration of all 14 museums under the auspices of the LCSD through a wide array of fun-filled activities and enriching experiences for the community. As part of the Appreciate Hong Kong campaign, free admission to museums was offered in the month of January 2016, resulting in an increase of over 40% in the number of visitors when compared with that in January 2015. -
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. -
Management Discussion and Analysis
PROFESSIONAL “We will continue to strengthen our film library through our own productions, co-productions and/or acquisitions, and by fully utilising our experience and programme-sourcing network. Supported by our strong artiste base and outstanding industry expertise, the Group expects to grow and gain a larger share in both the local and international markets.” See Corporation Limited Annual Report 2006 8 MANAGEMENT DISCUSSION AND ANALYSIS RESULTS The Group’s turnover for continuing operations amounted to HK$37.3 million during the year ended 30 June 2006, which was 33% less than the previous year’s figure of HK$56 million. This was mainly due to a change in our focus from trading multimedia electronic products to the entertainment and media businesses. The Group’s operations in these two areas were still in the formation and development stages. Gross profit for continuing operations for the year was HK$23.1 million before the amortisation of film rights, and HK$4.3 million after taking this amortisation into account. On the same basis, the gross profit for the previous year was HK$5.2 million. The Group suffered a loss from operations of HK$55.7 million on continuing operations during the year, compared with a loss of HK$21.1 million the previous year. Our share of the losses of associates amounted to HK$148 million. The net loss for the year attributable to equity holders was HK$261.9 million, compared with HK$36.8 million the previous year. The substantial increase in the net loss was primarily due to the disappointing results of our newly acquired associates, an impairment loss of HK$40.4 million on goodwill concerning the acquisition of subsidiaries and associates, an impairment loss of HK$4.4 million on film rights, and a HK$13.7 million impairment loss on trade and other receivables.