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Changing Political Economy of the Hong Kong Media
China Perspectives 2018/3 | 2018 Twenty Years After: Hong Kong's Changes and Challenges under China's Rule Changing Political Economy of the Hong Kong Media Francis L. F. Lee Electronic version URL: https://journals.openedition.org/chinaperspectives/8009 DOI: 10.4000/chinaperspectives.8009 ISSN: 1996-4617 Publisher Centre d'étude français sur la Chine contemporaine Printed version Date of publication: 1 September 2018 Number of pages: 9-18 ISSN: 2070-3449 Electronic reference Francis L. F. Lee, “Changing Political Economy of the Hong Kong Media”, China Perspectives [Online], 2018/3 | 2018, Online since 01 September 2018, connection on 21 September 2021. URL: http:// journals.openedition.org/chinaperspectives/8009 ; DOI: https://doi.org/10.4000/chinaperspectives. 8009 © All rights reserved Special feature China perspectives Changing Political Economy of the Hong Kong Media FRANCIS L. F. LEE ABSTRACT: Most observers argued that press freedom in Hong Kong has been declining continually over the past 15 years. This article examines the problem of press freedom from the perspective of the political economy of the media. According to conventional understanding, the Chinese government has exerted indirect influence over the Hong Kong media through co-opting media owners, most of whom were entrepreneurs with ample business interests in the mainland. At the same time, there were internal tensions within the political economic system. The latter opened up a space of resistance for media practitioners and thus helped the media system as a whole to maintain a degree of relative autonomy from the power centre. However, into the 2010s, the media landscape has undergone several significant changes, especially the worsening media business environment and the growth of digital media technologies. -
The RTHK Coverage of the 2004 Legislative Council Election Compared with the Commercial Broadcaster
Mainstream or Alternative? The RTHK Coverage of the 2004 Legislative Council Election Compared with the Commercial Broadcaster so Ming Hang A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Government and Public Administration © The Chinese University of Hong Kong June 2005 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. 卜二,A館書圆^^ m 18 1 KK j|| Abstract Theoretically, public broadcaster and commercial broadcaster are set up and run by two different mechanisms. Commercial broadcaster, as a proprietary organization, is believed to emphasize on maximizing the profit while the public broadcaster, without commercial considerations, is usually expected to achieve some objectives or goals instead of making profits. Therefore, the contribution by public broadcaster to the society is usually expected to be different from those by commercial broadcaster. However, the public broadcasters are in crisis around the world because of their unclear role in actual practice. Many politicians claim that they cannot find any difference between the public broadcasters and the commercial broadcasters and thus they asserted to cut the budget of public broadcasters or even privatize all public broadcasters. Having this unstable situation of the public broadcasting, the role or performance of the public broadcasters in actual practice has drawn much attention from both policy-makers and scholars. Empirical studies are divergent on whether there is difference between public and commercial broadcaster in actual practice. -
Entire Dissertation Noviachen Aug2021.Pages
Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas by Novia Shih-Shan Chen M.F.A., Ohio University, 2008 B.F.A., National Taiwan University, 2003 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of Gender, Sexuality, and Women’s Studies Faculty of Arts and Social Sciences © Novia Shih-Shan Chen 2021 SIMON FRASER UNIVERSITY SUMMER 2021 Copyright in this work rests with the author. Please ensure that any reproduction or re-use is done in accordance with the relevant national copyright legislation. Declaration of Committee Name: Novia Shih-Shan Chen Degree: Doctor of Philosophy Thesis title: Documentary as Alternative Practice: Situating Contemporary Female Filmmakers in Sinophone Cinemas Committee: Chair: Jen Marchbank Professor, Department of Gender, Sexuality and Women’s Studies Helen Hok-Sze Leung Supervisor Professor, Department of Gender, Sexuality and Women’s Studies Zoë Druick Committee Member Professor, School of Communication Lara Campbell Committee Member Professor, Department of Gender, Sexuality and Women’s Studies Christine Kim Examiner Associate Professor, Department of English The University of British Columbia Gina Marchetti External Examiner Professor, Department of Comparative Literature The University of Hong Kong ii Abstract Women’s documentary filmmaking in Sinophone cinemas has been marginalized in the film industry and understudied in film studies scholarship. The convergence of neoliberalism, institutionalization of pan-Chinese documentary films and the historical marginalization of women’s filmmaking in Taiwan, Hong Kong, and the People’s Republic of China (PRC), respectively, have further perpetuated the marginalization of documentary films by local female filmmakers. -
ATV, the Death of Television?
Beat: News ATV, The Death of Television? Oldest Hong Kong TV channel closes! Hong Kong, 07.04.2016, 04:04 Time USPA NEWS - The recently “˜deceased´ Asia Television Limited (ATV) in Hong Kong was the first television studio in the city. Being able to witness the death of a television channel may be an once-in-a-lifetime event, but this brings up the interesting discussion of the role of television in the modern world. The recently “˜deceased´ Asia Television Limited (ATV) in Hong Kong was the first television studio in the city. Known as Rediffusion when it was formed just after the war, it initially only provided a radio service for four hours a day. In 1957, it became the world´s first Chinese television channel and the first indigenous television channel in the entire British Empire. A decade after its first broadcast, it was renamed ATV and formed a duopoly with TVB (Television Broadcasts Limited), the city´s other free-to-air channel. It is unmistakable that ATV has a résumé that´s hard to match, but what caused it fail after all these years? Over the many decades of its operations, ATV has changed hands several times, each time into a more pro-Beijing business. Many analysts on newspapers and other television studios alike have agreed that gross mismanagement was to blame; this included anything from introducing incompatible management techniques to airing some of the most unpopular shows in the history of the company. Some programs ATV offered we so unpopular that polls showed they only had a 1% viewership rate. -
Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
Overseas Regulatory Announcement
(Incorporated in Hong Kong with limited liability under the Companies Ordinance) (Stock Code: 1137) OVERSEAS REGULATORY ANNOUNCEMENT Please refer to the attached Form 20-F for the fiscal year ended 31 August 2008 which has been filed with the U.S. Securities and Exchange Commission on 16 January 2009 by the Company. By Order of the Board City Telecom (H.K.) Limited Lai Ni Quiaque Executive Director, Chief Financial Officer and Company Secretary Hong Kong, 19 January 2009 As at the date of this announcement, the executive directors of the Company are Mr. Wong Wai Kay, Ricky (Chairman), Mr. Cheung Chi Kin, Paul (Vice Chairman), Mr. Yeung Chu Kwong, William (Chief Executive Officer), Mr. Lai Ni Quiaque (Chief Financial Officer); the non-executive director is Mr. Cheng Mo Chi, Moses; and the independent non-executive directors are Mr. Lee Hon Ying, John, Dr. Chan Kin Man and Mr. Peh Jefferson Tun Lu. Table of Contents As filed with the Securities and Exchange Commission on January 16, 2009. UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, DC 20549 FORM 20-F REGISTRATION STATEMENT PURSUANT TO SECTION 12(B) OR 12(G) OF THE SECURITIES EXCHANGE ACT OF 1934 or ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(D) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended August 31, 2008 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(D) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from or or SHELL COMPANY REPORT PURSUANT TO SECTION 13 OR 15(D) OF THE SECURITIES EXCHANGE ACT OF 1934 Date of event requiring this shell company report Commission file number: 333-11012 City Telecom (H.K.) Limited (Exact name of registrant as Specified in its Charter) Hong Kong Special Administrative Region, The People’s Republic of China (Jurisdiction of Incorporation or Organization) Level 39, Tower 1, Metroplaza No. -
Global Offering
IMPORTANT IMPORTANT: If you are in any doubt about any of the contents of this prospectus, you should seek independent professional advice. ERNEST BOREL HOLDINGS LIMITED 依 波 路 控 股 有 限 公 司 (Incorporated in the Cayman Islands with limited liability) GLOBAL OFFERING Number of Offer Shares in the Global Offering : 66,000,000 Shares (subject to the Over-allotment Option) Number of Hong Kong Offer Shares : 6,600,000 Shares (subject to adjustment) Number of International Offer Shares : 59,400,000 Shares (subject to adjustment and the Over-allotment Option) Maximum Offer Price : HK$3.46 per Offer Share, plus 1% brokerage, SFC transaction levy of 0.003%, and Stock Exchange trading fee of 0.005% (payable in full on application in Hong Kong dollars and subject to refund) Nominal Value : HK$0.01 per Share Stock Code : 1856 Sole Sponsor, Sole Global Coordinator, Sole Bookrunner and Sole Lead Manager Hong Kong Exchanges and Clearing Limited, The Stock Exchange of Hong Kong Limited and Hong Kong Securities Clearing Company Limited take no responsibility for the contents of this prospectus, make no representation as to its accuracy or completeness and expressly disclaim any liability whatsoever for any loss howsoever arising from or in reliance upon the whole or any part of the contents of this prospectus. A copy of this prospectus, having attached thereto the documents specified in the paragraph headed ‘‘ Documents Delivered to the Registrar of Companies and Available for Inspection’’ in Appendix V, has been registered by the Registrar of Companies in Hong Kong as required by Section 342C of the Companies (Winding Up and Miscellaneous Provisions) Ordinance (Chapter 32 of the Laws of Hong Kong). -
Culture, Management Style, and Business Systems Chapter
Culture, Chapter 5 Management Style, and Business Systems CHAPTER OUTLINE CHAPTER LEARNING OBJECTIVES Global Perspective: Do Blondes Have More Fun in Japan? What you should learn from Chapter 5: Required Adaptation LO1 The necessity for adapting to cultural differences Degree of Adaptation LO2 How and why management styles vary around Imperatives, Electives, and Exclusives the world The Impact of American Culture on Management Style LO3 The extent and implications of gender bias in other countries Management Styles around the World Authority and Decision Making LO4 The importance of cultural differences in business Management Objectives and Aspirations ethics Communication Styles LO5 The differences between relationship-oriented Formality and Tempo P-Time versus M-Time and information-oriented cultures Negotiations Emphasis Marketing Orientation Gender Bias in International Business Business Ethics Corruption Defi ned The Western Focus on Bribery Bribery: Variations on a Theme Ethical and Socially Responsible Decisions Culture’s Infl uence on Strategic Thinking Synthesis: Relationship-Oriented versus Information- Oriented Cultures cat2994X_ch05_124-157.indd 124 18/08/10 12:12 PM PART TWO Global Perspective DO BLONDES HAVE MORE FUN IN JAPAN? Recounts one American executive, “My fi rst trip to Japan Then about seven years ago, Mattel Inc. conducted con- was pretty much a disaster for several reasons. The meet- sumer research around the world and learned something sur- ings didn’t run smoothly because every day at least 20, if prising: The original Barbie, with her yellow hair and blue not more, people came walking in and out of the room just eyes, played as well in Hong Kong as it did in Hollywood. -
1 “Ann Hui's Allegorical Cinema” Jessica Siu-Yin Yeung to Cite This
This is the version of the chapter accepted for publication in Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary published by Palgrave Macmillan https://link.springer.com/chapter/10.1007/978-981-10-7766-1_6 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/34754 “Ann Hui’s Allegorical Cinema” Jessica Siu-yin Yeung To cite this article: By Jessica Siu-yin Yeung (2018) “Ann Hui’s Allegorical Cinema”, Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary, ed. Jason S. Polley, Vinton Poon, and Lian-Hee Wee, 87-104, Singapore: Palgrave Macmillan, 2018. Allegorical cinema as a rhetorical approach in Hong Kong new cinema studies1 becomes more urgent and apt when, in 2004, the Closer Economic Partnership Arrangement (CEPA) begins financing mainland Chinese-Hong Kong co-produced films.2 Ackbar Abbas’s discussion on “allegories of 1997” (1997, 24 and 16–62) stimulates studies on Happy Together (1997) (Tambling 2003), the Infernal Affairs trilogy (2002–2003) (Marchetti 2007), Fu Bo (2003), and Isabella (2006) (Lee 2009). While the “allegories of 1997” are well- discussed, post-handover allegories remain underexamined. In this essay, I focus on allegorical strategies in Ann Hui’s post-CEPA oeuvre and interpret them as an auteurish shift from examinations of local Hong Kong issues (2008–2011) to a more allegorical mode of narration. This, however, does not mean Hui’s pre-CEPA films are not allegorical or that Hui is the only Hong Kong filmmaker making allegorical films after CEPA. Critics have interpreted Hui’s films as allegorical critiques of local geopolitics since the beginning of her career, around the time of the Sino-British Joint Declaration in 1984 (Stokes and Hoover 1999, 181 and 347 note 25), when 1997 came and went (Yau 2007, 133), and when the Umbrella Movement took place in 2014 (Ho 2017). -
Foundation Yearbook 2019
CONTENTS 004 Message from the Chairman 007 Message from the Headmaster 008 Board of Directors 010 Sub-committees 015 Total Funds Raised 016 Endowment Fund 017 Annual Giving 018 Our Projects 020 Investment Report 022 Tiers of Recognition 030 Reunion Class Gifts 036 DBS 150th Anniversary 047 Acknowledgement of Event Sponsors 002 I I 003 MESSAGE from THE CHAIRMAN I am incredibly proud and excited to chair DBS Foundation and witness the 150th Anniversary of the School. The Most Revd. DR. PAUL KWONG Archbishop of Hong Kong Funds raised through various programmes of the Foundation have provided the School with excellent resources to nurture boys and develop them to their full potential. I would like to extend my deepest gratitude to our directors and sub-committee members for their dedication and remarkable efforts throughout the year. I would also like to thank our Old Boys, parents and friends for their continued support and generous contribution. I hope you would enjoy reading this fifth Foundation report and pray that you would continue to support our work. 004 I Photo Credit: Diocesan Media Group of DBS MESSAGE from THE HEADMASTER RONNIE CHENG Class of '83 DBS has a long history of academic excellence and extra-curricular prowess, galvanised by a strong spirit connecting current and past students. We recognise and respect each other's differences within an environment which enables students to excel in their respective areas of strength. The generosity of our Old Boys, parents and friends of DBS, through their contribution to DBS Foundation, has provided the necessary resources which enable students to reach their full potential. -
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% -
OASIS2016.Pdf
38,&+,1*0,''/(6&+22/ 20 Pui Ching Road, Homantin, Hong Kong. Tel: 2711 9222 Fax: 2711 3201 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the copyright owner. First published Jan 2016 by PUI CHING MIDDLE SCHOOL Hong Kong ISBN: 978-988-15777-6-4 Printed in Hong Kong by Chung Tai Printing & Hot Blocking Co. 'HGLFDWLRQ 7KHFROOHFWLRQLVGHGLFDWHGWR *RG WKHIRXQGHUVRIWKHVFKRRO DQG WKHLQVSLULQJSULQFLSDOV DQGWHDFKHUVRI3XL&KLQJ ZKRVHHNWRPDNHWKHVFKRROWKHEHVWFUDGOH IRUQXUWXULQJWDOHQWVDQGOHDGHUVRIJHQHUDWLRQV LQWKHSDVW QRZ DQGWKHWLPHWRFRPH &ŽƌĞǁŽƌĚ Dƌ͘ dĂŵ zĂƚ zƵŬ Oasis is the fruitful collection of the students’ creative writings. Thanks to the untiring effort of our English teachers in promoting writing, Oasis has become a culture in Pui Ching. Many students have developed the readiness to write. They are willing to write and they take pride in sharing their work with others. Some have taken contribution to Oasis as an important annual event. As the principal of Pui Ching, there is nothing happier and more encouraging than to see students love writing and to see life and creativity in their work. Time passes and the year goes. When a student no longer walks up and down the steps, what refreshes his youthful reminiscence may be the inspiration that has been planted in this student classic. Students, why hesitate? Open your minds to the world around you, be aware, read, be inspired and write. Tam Yat Yuk Principal 7 January 2016 tŽƌĚƐĨƌŽŵƚŚĞĚŝƚŽƌƐ Subsequent to the previous revised publication of 2DVLV, there comes the heartwarming applause from various sides.