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The Studies of HKIFF: an Overview of a Burgeoning Field of Its Establishment in the Current Years
The studies of Hong Kong International Film Festival (HKIFF) : Title an overview of a burgeoning field of its establishment in the current years Author(s) Law, Pik-yu Law, P. E.. (2015). The studies of Hong Kong International Film Festival (HKIFF) : an overview of a burgeoning field of its Citation establishment in the current years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Issued Date 2015 URL http://hdl.handle.net/10722/223429 The author retains all proprietary rights, (such as patent rights) and the right to use in future works.; This work is licensed under Rights a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The Studies of HKIFF: An Overview of a Burgeoning Field of its establishment in the current years The University of Hong Kong Department of Sociology Assignment / Essay Cover Sheet1 Programme Title: Master of Social Sciences in Media, Culture and Creative Cities – MSocSc(MCCC) Title of Course: SOCI8030 Capstone Project Course Code: SOCI8030 Title of Assignment / Essay: The Studies of Hong Kong International Film Festival (HKIFF): An overview of a Burgeoning Field of its establishment in the current years Student Name: LAW, Pik Yu Eugenia Student Number: 2013932305 Year of Study: Year 2 Date of Resubmission2: Plagiarism Plagiarism is the presentation of work which has been copied in whole or in part from another person’s work, or from any other source such as the Internet, published books or periodicals without due acknowledgement given in the text. Where there are reasonable grounds for believing that cheating has occurred, the action that may be taken when plagiarism is detected is for the staff member not to mark the item of work and to report or refer the matter to the Department. -
Catalogue 2011
Equipo Cines del Sur Director José Sánchez-Montes I Relaciones institucionales Enrique Moratalla I Director de programación Casimiro Torreiro I Asesores de programación Esteve Riambau, Gloria Fernández I Programador cinesdelsur. ext y Extraño Tanto Mar José Luis Chacón I Gerencia Elisabet Rus I Coordinadora de programación, comunicación, difusión Índice y prensa María Vázquez Medina I Departamento de Comunicación Ramón Antequera Rodríguez-Rabadán I Coordinadora de invitados Marichu Sanz de Galdeano I Coordinador Producción Enrique Novi I Departamento Producción Christian Morales, Juan Manuel Ríos I Jefa de prensa Nuria Díaz I Prensa Nuria García Frutos, Neus Molina I Publicaciones Carlos Martín I Catálogo y revista Laura Montero Plata I Gestión de tráfico de copias Reyes Revilla I Protocolo María José Gómez, Manuel 6 Presentación_Welcome Dominguez I Documentación Audiovisual Festival Jorge Rodríguez Puche, Rafael Moya Cuadros I Coordinador de traducción e interpretación Pedro Jesús Castillo I Traducción Pedro Jesús Castillo, Alexia Weninger, Hiroko Inose, Jesús de Manuel Jerez 11 Jurado_Jury I Secretario Jurado Oficial Toni Anguiano I Imagen del cartel Ángel Lozano I Diseño del premio Luis Jarillo I Cabecera LZ Producciones I +Factor Humano Antonio José Millán I Voluntarios José Ángel Martínez I Jefe técnico de proyecciones José Antonio Caballero Soler I Equipo técnico de proyecciones José Antonio Caballero Martín, José Domingo Raya, 19 Programación_Programming José Antonio Caballero Solier I Diseño Catálogo: Ángel Lozano, Juan Gómez, -
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. -
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 -
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. -
An Introduction to Cantonpop
An Introduction to Cantonese Pops (Updated version) Dr Helan Yang (Learning and teaching materials for teachers’ reference) Teachers may make reference to the book “Reading Cantonese Songs: The Voice of Hong Kong Through Vicissitudes”《粵語歌曲解讀:蛻變中的香港聲音》 written by Yu Siu Wah and Helan Yang Historical Overview The Origin of Cantonese Pops It is commonly held that Cantonese Pops (known as Cantopop1) emerged in the 50’s, but it is more likely that Cantonese songs with newly composed tunes and lyrics had already come into existence in Hong Kong as early as the 30’s. For example, the song《壽仔去拍 拖》with Cantonese lyrics intercalated with English words featured in an album released by New Moon Records Ltd (新月唱片) in 1930 was already emblematic of Hong Kong culture. The strophic structure of the lyrics and its reflection on life’s reality are similar to that of the ‘Humorous Songs’ (諧趣歌曲) of the 50’s and 60’s. According to Lu Kam (魯金), an expert on Hong Kong folk heritage, the two songs “Sleep Well My Baby”《兒安眠》and “The Miss Who Couldn’t Care Less”《風流小姐》featured in the singer Li Qi Nian’s (李綺 年) album released by New Moon Records in 1935 have new tunes and new lyrics, and can be regarded as the predecessor of Cantonese Pops. The early Cantonese Pops did not have a uniformed nomenclature. The Cantonese albums of the 50’s were released under the various names of ‘Dancing Songs’ (跳舞歌曲), ‘Dancing Cantonese Operatic Songs’ (跳舞粵曲), ‘Cantonese Modern Songs’ (粵語時代 曲), ‘Cantonese Ditties’ (粵語小曲) and ‘Modern Cantonese Operatic Songs’ (時代粵曲). -
Sandee Chan and Lesbian Representability in Mandarin Pop Music
Inter-Asia Cultural Studies, Volume 4, Number 2, 2003 The perfect lie: Sandee Chan and lesbian representability in Mandarin pop music Fran MARTIN I don’t know who’s right I only know none of them are like me. They don’t ask as much as I do They don’t think as long as I do They don’t wait as patiently as I do To discover everything is wrong Depending on how you say it. If you love me, I beg you: tell me. Tell the perfect lie To move me. If you love me, I beg you: tell me. Tell a serious lie, Make up the perfect excuse. The whole world is right Not like me. The whole world is right I’m the one who’s wrong. The whole world is fake. I’m just scared you’ll say You don’t love me, because it is I who am wrong. Because it is I who am wrong, say you don’t love me. —— Sandee Chan, “Perfect” This epigraph is a translation of the lyrics of the Mandarin pop song “Perfect” (Wanmei) written Downloaded By: [University Of Melbourne] At: 06:37 6 July 2009 and performed by Taiwanese singer-songwriter Sandee Chan (Chen Shanni) for her 2000 album Perfect moan. That album, like her previous five and her most recent one (Happy Birthday! music543, 2002) has proven popular with young lesbian (nu¨tongzhi)1 audiences in Taiwan, despite the fact that Sandee herself does not identify as a lesbian and has at times expressed an ambivalent attitude toward her own queer fame. -
A Nostalgic Night of Classic Cantopop by Polygram Superstars at The
A Nostalgic Night of Classic Cantopop by PolyGram Superstars at The Venetian Macao The most renowned names of the legendary music label will hit the stage of the Cotai Arena with “Polygram Forever Live in Macao” (Macao, Mar. 4, 2015) – A group of renowned singers from the legendary music label PolyGram will take to the stage at the Cotai Arena in a night of nostalgia with Polygram Forever Live In Macao March 14, 2015. Tickets go on sale Friday, Mar. 5, at all Cotai Ticketing™ box offices. The star-studded concert will feature some of PolyGram’s most famous singing sensations including Priscilla Chan Wai-han, Hacken Lee Hak-kan, Vivian Chow Wai-man, Albert Au Shui- keung, Daniel Chan Hiu-tung and Karen Tong Bo-yu. The legends will bring back wonderful memories for their collective legion of fans when they revive some of their greatest hits. The PolyGram Forever Live Concert series started in 2013 to celebrate the 45th anniversary of the label and has since toured Hong Kong, Singapore, Kuala Lumpur and Foshan. The tour is making it to Macao and will undoubtedly provide a night that fans of classic Cantopop won’t want to miss. Music label Polygram forms part of the collective memory of Cantopop lovers. PolyGram Forever Live allows fans to spend a night of nostalgic reflection with some of the best-known stars that have been associated with Polygram over the years. Ticketing details: Event Polygram Forever Live In Macao Date and Time March 14, 2015, 8 p.m. Venue Cotai Arena, The Venetian Macao Ticket Prices MOP/ HKD 1,480 (VIP) MOP/ HKD 1,280