The Rotarian Shaw Brothers Runme (邵仁枚) and Run Run Shaw (邵逸夫)
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Alternative Digital Movies As Malaysian National Cinema A
Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Hsin-ning Chang April 2017 © 2017 Hsin-ning Chang. All Rights Reserved. 2 This dissertation titled Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema by HSIN-NING CHANG has been approved for Interdisciplinary Arts and the College of Fine Arts by Erin Schlumpf Visiting Assistant Professor of Film Studies Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT CHANG, HSIN-NING, Ph.D., April 2017, Interdisciplinary Arts Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema Director of dissertation: Erin Schlumpf This dissertation argues that the alternative digital movies that emerged in the early 21st century Malaysia have become a part of the Malaysian national cinema. This group of movies includes independent feature-length films, documentaries, short and experimental films and videos. They closely engage with the unique conditions of Malaysia’s economic development, ethnic relationships, and cultural practices, which together comprise significant understandings of the nationhood of Malaysia. The analyses and discussions of the content and practices of these films allow us not only to recognize the economic, social, and historical circumstances of Malaysia, but we also find how these movies reread and rework the existed imagination of the nation, and then actively contribute in configuring the collective entity of Malaysia. 4 DEDICATION To parents, family, friends, and cats in my life 5 ACKNOWLEDGMENTS I would like to express my sincere gratitude to my advisor, Prof. -
Grand Bauhinia Medal (GBM) The
Appendix Grand Bauhinia Medal (GBM) The Honourable Mrs LAM CHENG Yuet-ngor, Carrie, GBS, JP Mrs LAM is awarded the GBM in recognition of her dedicated and distinguished public service to the Government and the Hong Kong community over the past 35 years, particula rly her sterling contributions in her capacity as the Chief Secretary for Administration. With her strong commitment to Hong Kong and outstanding ability and experience in public administration, she has assisted the Chief Executive and has played an instr umental role in ensuring co-ordination in policy formulation and implementation. She has also made significant contributions to help steer the Government through many challenges. The Honourable TAM Yiu-chung, GBS, JP Mr TAM is awarded the GBM in recognition of his long and distinguished public and community service, particularly his dedication and significant contributions to the promotion of workers’ welfare. Being a well-respected community and trade union leader, Mr TAM devoted great effort in enhancing employees’ rights and benefits, and maintaining a balanced and harmonious labour relation in Hong Kong. During the various stages of his public service, particularly as member of the Executive Council from 1997 to 2002 and the Legislative Counci l since 1998, Mr TAM has rendered reliable support and valuable advice to the Government on various political and livelihood issues. Mr CHAN Wing-kee, GBS, JP Mr CHAN is awarded the GBM in recognition of his long and distinguished public service, particularly his remarkable contribution s to the promotion of trade and industry of Hong Kong . His unfailing endeavour to consolidate Guangdong clansmen to serve the community has successfully earned the due respect and recognition from the public at la rge. -
Bamcinématek Presents a Brand New 40Th Anniversary Restoration of Robert Clouse’S Enter the Dragon, Starring Bruce Lee, in a Week-Long Run, Aug 30—Sep 5
BAMcinématek presents a brand new 40th anniversary restoration of Robert Clouse’s Enter the Dragon, starring Bruce Lee, in a week-long run, Aug 30—Sep 5 Series sidebar features five wing chun classics including Sammo Hung’s The Prodigal Son, Chang Cheh’s Invincible Shaolin, and Bruce Lee’s The Way of the Dragon, beginning Aug 29 “Bruce Lee was the Fred Astaire of martial arts.”—Pauline Kael, The New Yorker The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Aug 7, 2013—From Friday, August 30 through Thursday, September 5, BAMcinématek presents a week-long run of Robert Clouse’s Enter the Dragon, screening in a new DCP restoration for its 40th anniversary. In conjunction with the release of Wong Kar-wai’s Ip Man biopic The Grandmaster, this series revels in the lightning-fast moves of the revered kung fu tradition known as wing chun, featuring a five-film sidebar of martial arts rarities. Passed on through generations of martial artists, wing chun was popularized by icons like Sammo Hung and Ip’s movie-star disciple Bruce Lee—and has become an action movie mainstay. The first Chinese martial arts movie to be produced by a major Hollywood studio, Clouse’s Enter the Dragon features Bruce Lee in his final role before his untimely death (just six days before the film’s theatrical release). Shaolin master Mr. Lee (Lee) is recruited to infiltrate the island of sinister crime lord Mr. Han by going undercover as a competitor in a kung fu tournament. -
Grand Bauhinia Medal (GBM)
Appendix Grand Bauhinia Medal (GBM) The Honourable Chief Justice CHEUNG Kui-nung, Andrew Chief Justice CHEUNG is awarded GBM in recognition of his dedicated and distinguished public service to the Judiciary and the Hong Kong community, as well as his tremendous contribution to upholding the rule of law. With his outstanding ability, leadership and experience in the operation of the judicial system, he has made significant contribution to leading the Judiciary to move with the times, adjudicating cases in accordance with the law, safeguarding the interests of the Hong Kong community, and maintaining efficient operation of courts and tribunals at all levels. He has also made exemplary efforts in commanding public confidence in the judicial system of Hong Kong. The Honourable CHENG Yeuk-wah, Teresa, GBS, SC, JP Ms CHENG is awarded GBM in recognition of her dedicated and distinguished public service to the Government and the Hong Kong community, particularly in her capacity as the Secretary for Justice since 2018. With her outstanding ability and strong commitment to Hong Kong’s legal profession, Ms CHENG has led the Department of Justice in performing its various functions and provided comprehensive legal advice to the Chief Executive and the Government. She has also made significant contribution to upholding the rule of law, ensuring a fair and effective administration of justice and protecting public interest, as well as promoting the development of Hong Kong as a centre of arbitration services worldwide and consolidating Hong Kong's status as an international legal hub for dispute resolution services. The Honourable CHOW Chung-kong, GBS, JP Over the years, Mr CHOW has served the community with a distinguished record of public service. -
Joseph Sunn Jue and Run Run Shaw out OF
CAAMFest 2014 Honors Two Film Production Pioneers: Joseph Sunn Jue and Run Run Shaw SAN FRANCISCO, Feb. 13, 2014 — The Center for Asian American Media (CAAM) is excited to showcase two pioneers from Asian and Asian American film history: Joseph Sunn Jue and Run Run Shaw. Legendary Chinese American producer Joseph Sunn Jue formed the Grandview Film Company in San Francisco in 1933. It was the only operating Chinese American motion picture company in the United States during the 1930s. With the help of the Hong Kong Film Archive, CAAMFest 2014 will present two of seven surviving Grandview productions for the first time in 67 years. Run Run Shaw is one of the most influential figures in the Asian entertainment industry. The Hong Kong mogul and movie producer was also a philanthropist who donated billions to charities in his lifetime and also founded Shaw Brothers Studios. On January 7, 2014, Shaw passed away at the age of 106. CAAM pays tribute to his legacy with a screening of three of his studio’s spectacular cinematic creations. CAAM is pleased to present these films at the Great Star Theater, Chinatown’s last remaining film theater which showed the early works of Run Run Shaw. OUT OF THE VAULTS: REDISCOVERING GRANDVIEW FILMS CAAMFest’s Out of the Vaults showcases films ripe for rediscovery. This year’s presentation highlights Joseph Sunn Jue and his Grandview Film Company. Producing a series of imaginative comedies, melodramas and romances geared towards the Cantonese‐speaking market in the 1930s, Grandview captured a unique era in the lives of Chinese Americans. -
Hong Kong Filmmakers Search: Eric TSANG
Eric TSANG 曾志偉(b. 1953.4.14) Actor, Director, Producer A native of Wuhua, Guangdong, Tsang was born in Hong Kong. He had a short stint as a professional soccer player before working as a martial arts stuntman at Shaw Brothers Studio along with Sammo Hung. In 1974, he followed Lau Kar-leung’s team to join Chang Cheh’s film company in Taiwan, and returned to Hong Kong in 1976. Tsang then worked as screenwriter and assistant director for Lau Kar-leung, Sammo Hung and Jackie Chan in companies such as Shaw Brothers and Golden Harvest. Introduced to Karl Maka by Lau, Tsang and Maka co-wrote the action comedy Dirty Tiger, Crazy Frog! in 1978. Tsang made his directorial debut next year with The Challenger (1979). In 1980, Tsang was invited by Maka to join Cinema City. He became a member of the ‘Team of Seven’, participating in story creation. He soon directed the record shattering Aces Go Places (1982) and Aces Go Places II (1983), while he also produced a number of movies that explored different filmmaking approaches, including the thriller He Lives by Night (1982), Till Death Do We Scare (1982), which applied western style make-up and special effects, and the fresh comedy My Little Sentimental Friend (1984). Tsang left Cinema City in 1985 and became a pivotal figure in Hung’s Bo Ho Films. He was the associate producer for such films as Mr. Vampire (1985) and My Lucky Stars (1985). In 1987, Tsang co-founded Alan & Eric Films Co. Ltd. with Alan Tam and Teddy Robin. -
PDF Full Report
Heightening Sense of Crises over Press Freedom in Hong Kong: Advancing “Shrinkage” 20 Years after Returning to China April 2018 YAMADA Ken-ichi NHK Broadcasting Culture Research Institute Media Research & Studies _____________________________ *This article is based on the same authors’ article Hong Kong no “Hodo no Jiyu” ni Takamaru Kikikan ~Chugoku Henkan kara 20nen de Susumu “Ishuku”~, originally published in the December 2017 issue of “Hoso Kenkyu to Chosa [The NHK Monthly Report on Broadcast Research]”. Full text in Japanese may be accessed at http://www.nhk.or.jp/bunken/research/oversea/pdf/20171201_7.pdf 1 Introduction Twenty years have passed since Hong Kong was returned to China from British rule. At the time of the 1997 reversion, there were concerns that Hong Kong, which has a laissez-faire market economy, would lose its economic vigor once the territory is put under the Chinese Communist Party’s one-party rule. But the Hong Kong economy has achieved generally steady growth while forming closer ties with the mainland. However, new concerns are rising that the “One Country, Two Systems” principle that guarantees Hong Kong a different social system from that of China is wavering and press freedom, which does not exist in the mainland and has been one of the attractions of Hong Kong, is shrinking. On the rankings of press freedom compiled by the international journalists’ group Reporters Without Borders, Hong Kong fell to 73rd place in 2017 from 18th in 2002.1 This article looks at how press freedom has been affected by a series of cases in the Hong Kong media that occurred during these two decades, in line with findings from the author’s weeklong field trip in mid-September 2017. -
Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff. -
122851 TXT Placed.Indd
Electronic Book Review: China and Inner Asia “storytelling” to bring out the different voices of the “coming out” stories of her interviewees, underlining how these stories are closely tied with the national and global imagining of China’s opening up. In chapter 3, she discusses quite lengthily her fieldwork, paying special attention to the problem of representation and legitimization. She is particularly sensitive to her own role as “a semi-outsider, a non-gay female, a researcher from Australia, a citizen of Hong Kong, a visiting scholar of the Chinese Academy of Social Sciences in Beijing, and a non-Beijing resident in the field” (60) who has done research on gays and lesbians in urban China. Chapter 4 is a rather short chapter on the politics of same-sex articulations through the divergent meanings of “homosexual,” “gay” and “lesbian” in the Chinese context, using a linguistic analysis. In chapter 5, she turns into the increasingly commercialized and state-controlled Chinese gay cyberworld. Building from the previous chapters, chapter 6 is the most important and interesting chapter, as Ho puts forward her main argument that the emergence of modern Chinese same-sex identities cannot merely be treated as “modern” (read Western) or “authentic” (read indigenous), but are constituted by a complicated interplay between local coming-to-terms gay and lesbian generations, China’s project of modernity, and global queering. This is a rather short book, seemingly converted from Ho’s PhD thesis. As noted by the author, there are plenty of areas for further investigation. I enjoyed reading it very much but would like to read more. -
Report of the Directors
REPORT OF THE DIRECTORS The Directors have pleasure in presenting their report together with the audited financial statements for the year ended 31st March 2006. GENERAL INFORMATION, PRINCIPAL ACTIVITIES AND GEOGRAPHICAL ANALYSIS OF OPERATIONS The Company is a limited company incorporated and publicly listed in the Hong Kong Special Administrative Region (“Hong Kong”). The address of the registered office is Lot 220 Clear Water Bay Road, Kowloon, Hong Kong. The financial statements are presented in Hong Kong dollars which are the same as the functional currency of the Company. The principal activities of the Company during the year are investment holding and investments in the media and entertainment industries. The activities and particulars of the subsidiaries and associated companies are shown in Note 11 and 12 to the financial statements respectively. The analysis of the Group’s performance for the year by business and geographical segments is set out in Note 2 to the financial statements. RESULTS The results of the Group for the year ended 31st March 2006 are set out in the consolidated income statement on page 28. DIVIDENDS The Directors have declared an interim dividend of HK$0.06 per ordinary share, totalling HK$23,903,424 which was paid on 26th January 2006. The Directors recommend the payment of a final dividend of HK$0.34 per ordinary share, totalling HK$0.40, in respect of the year ended 31st March 2006 payable to shareholders whose names appear on the Register of Members of the Company on 6th September 2006. Final dividend, if approved, will be paid to shareholders on 26th October 2006. -
Introduction
introduction The disembodied voices of bygone songstresses course through the soundscapes of many recent Chinese films that evoke the cultural past. In a mode of retro- spection, these films pay tribute to a figure who, although rarely encountered today, once loomed large in the visual and acoustic spaces of popu lar music and cinema. The audience is invited to remember the familiar voices and tunes that circulated in these erstwhile spaces. For instance, in a film by the Hong Kong director Wong Kar- wai set in the 1960s, In the Mood for Love, a traveling businessman dedicates a song on the radio to his wife on her birthday.1 Along with the wife we listen to “Hua yang de nianhua” (“The Blooming Years”), crooned by Zhou Xuan, one of China’s most beloved singers of pop music. The song was originally featured in a Hong Kong production of 1947, All- Consuming Love, which cast Zhou in the role of a self- sacrificing songstress.2 Set in Shang- hai during the years of the Japa nese occupation, the story of All- Consuming Love centers on the plight of Zhou’s character, who is forced to obtain a job as a nightclub singer to support herself and her enfeebled mother-in- law after her husband leaves home to join the resis tance. “The Blooming Years” refers to these recent politi cal events in a tone of wistful regret, expressing the home- sickness of the exile who yearns for the best years of her life: “Suddenly this orphan island is overshadowed by miseries and sorrows, miseries and sorrows; ah, my lovely country, when can I run into your arms again?”3 -
2016 Annual Report
FINANCIAL HIGHLIGHTS Revenue and Prot Attributable to 2016 2015 Change Equity Holders of the Company Revenue (Continuing operations) Prot Attributable to Equity Holders of the Company Performance 6,000 Earnings per share HK$1.14 HK$3.04 -62% Dividends per share 5,000 - Interim HK$0.60 HK$0.60 – - Final – HK$2.00 -100% 4,000 HK$0.60 HK$2.60 -77% 3,000 HK$’mil HK$’mil HK$’ million HK$’ Revenue 2,000 - Hong Kong TV broadcasting 2,707 3,105 -13% - Hong Kong digital new media 1,000 business 230 170 35% - Programme licensing and 0 distribution 1,019 951 7% 2012 2013 2014 2015 2016 - Overseas pay TV operations 169 186 -9% YEAR - Channel operations 90 105 -14% Earnings & Dividends# Per Share - Other activities 191 129 48% - Inter-segment elimination (196) (191) 2% Earnings per Share Dividends# per Share 4,210 4,455 -5% 4.5 HK$’mil HK$’mil 4 Segment (loss)/profit* 3.5 - Hong Kong TV broadcasting (71) 551 N/A 3 - Hong Kong digital new media business (29) 41 N/A 2.5 - Programme licensing and HK$ 2 distribution 444 410 8% - Overseas pay TV operations (40) (30) 31% 1.5 - Channel operations 2 18 -87% 1 - Other activities 27 11 151% 0.5 - Corporate support (33) – N/A - Inter-segment elimination 1 (1) N/A 0 2012 2013 2014 2015 2016 301 1,000 -70% YEAR # excluding special dividend Total expenses∆ 3,888 3,439 13% 2016 Revenue by Operating Segment Profit attributable to equity holders 500 1,331 -62% % relating to 2015 are shown in brackets 31 December 31 December Hong Kong TV 2016 2015 broadcasting HK$’mil HK$’mil 63% (69%) Total assets 12,357 9,113 36%