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新加坡e 乐大赏singapore Entertainment Awards 2014 人气奖项投选
新加坡 e 乐大赏 Singapore Entertainment Awards 2014 人气奖项投选名单 Most Popular Categories (Open for public voting) A. e 乐人气男歌手 Most Popular Male Singer 1 毕书尽 Bii 2 胡夏 Hu Xia 3 林俊杰 JJ Lin 4 杨宗纬 Aska Yang 5 萧敬腾 Jam Hsiao 6 罗志祥 Show Luo 7 黄鸿升 Alien Huang 8 周杰伦 Jay Chou 9 王力宏 Wang Lee Hom 10 严爵 Yen-J B. e 乐人气女歌手 Most Popular Female Singer 1 张惠妹 A-Mei 2 蔡健雅 Tanya Chua 3 白安 Ann 4 戴佩妮 Penny Tai 5 丁当 Della Ding Dang 6 蔡依林 Jolin Tsai 7 孙燕姿 Stefanie Sun 8 杨丞琳 Rainie Yang 9 何韵诗 Denise Ho 10 田馥甄 Hebe Tien 1 C. e 乐人气本地歌手 Most Popular Local Singer 1 孙燕姿 Stefanie Sun 2 蔡淳佳 Joi Chua 3 乔毓明 Ming Bridges 4 何维健 Derrick Hoh 5 黄义达 Huang Yida 6 蔡健雅 Tanya Chua 7 麦克疯 MICappella 8 插班生 The Freshman 9 Olivia Ong Olivia Ong 10 林俊杰 JJ Lin D. e 乐人气乐团 Most Popular Band 1 飞儿乐团 F.I.R 2 旺福 Won Fu 3 苏打绿 sodagreen 4 五月天 Mayday 5 MP 魔幻力量 Magic Power E. e 乐人气组合 Most Popular Group 1 Popu Lady Popu Lady 2 EXO-M EXO-M 3 Super Junior-M Super Junior-M 4 动力火车 Power Station 5 S.H.E S.H.E 2 F. e 乐人气华语 MV Most Popular Music Video (C-pop) 歌名 歌手 1 渺小 田馥甄 2 Come Back To Me Bii 毕书尽 3 其实都没有 杨宗纬 4 纯属意外 戴佩妮 5 再遇见 苏打绿 6 天使之翼 杨丞琳 7 黑暗骑士 林俊杰 8 爱投罗网 罗志祥 9 恋爱元气弹 Popu Lady 10 超有感 黄鸿升 G. -
Cava of Toledo; Or, the Gothic Princess
Author: Augusta Amelia Stuart Title: Cava of Toledo; or, the Gothic Princess Place of publication: London Publisher: Printed at the Minerva-Press, for A. K. Newman and Co. Date of publication: 1812 Edition: 1st ed. Number of volumes: 5 CAVA OF TOLEDO. A ROMANCE. Lane, Darling, and Co. Leadenhall-Street. CAVA OF TOLEDO; OR, The Gothic Princess. A ROMANCE. IN FIVE VOLUMES BY AUGUSTA AMELIA STUART, AUTHOR OF LUDOVICO’S TALE; THE ENGLISH BROTHERS; EXILE OF PORTUGAL, &c. &c. Fierce wars, and faithful loves, And truths severe, in fairy fiction drest. VOL. I. LONDON: PRINTED AT THE Minerva Press, FOR A. K. NEWMAN AND CO. LEADENHALL-STREET. 1812. PREFACE. THE author of the following sheets, struck by the account historians have given of the fall of the Gothic empire in Spain, took the story of Cava for the foundation of a romance: whether she has succeeded or not in rendering it interesting, must be left to her readers to judge. She thinks it, however, necessary to say she has not falsified history; all relating to the war is exact: the real characters she has endeavoured to delineate such as they were; —Rodrigo—count Julian—don Palayo—Abdalesis, the Moor—queen Egilone—Musa—and Tariff, are drawn as the Spanish history represents them. Cava was never heard of from her quitting Spain with her father; of course, her adventures, from that period, are the coinage of the author’s brain. The enchanted palace, which Rodrigo broke into, is mentioned in history. Her fictitious characters she has moulded to her own will; and has found it a much more difficult task than she expected, to write an historical romance, and adhere to the truth, while she endeavoured to embellish it. -
Johnnie to Kei-Fung's
JOHNNIE TO KEI-FUNG’S PTU Michael Ingham Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2009 Michael Ingham ISBN 978-962-209-919-7 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 Pre-Press Ltd. in Hong Kong, China Contents Series Preface vii Acknowledgements xi 1 Introducing the Film; Introducing Johnnie — 1 ‘One of Our Own’ 2 ‘Into the Perilous Night’ — Police and Gangsters 35 in the Hong Kong Mean Streets 3 ‘Expect the Unexpected’ — PTU’s Narrative and Aesthetics 65 4 The Coda: What’s the Story? — Morning Glory! 107 Notes 127 Appendix 131 Credits 143 Bibliography 147 ●1 Introducing the Film; Introducing Johnnie — ‘One of Our Own’ ‘It is not enough to think about Hong Kong cinema simply in terms of a tight commercial space occasionally opened up by individual talent, on the model of auteurs in Hollywood. The situation is both more interesting and more complicated.’ — Ackbar Abbas, Hong Kong Culture and the Politics of Disappearance ‘Yet many of Hong Kong’s most accomplished fi lms were made in the years after the 1993 downturn. Directors had become more sophisticated, and perhaps fi nancial desperation freed them to experiment … The golden age is over; like most local cinemas, Hong Kong’s will probably consist of a small annual output and a handful of fi lms of artistic interest. -
Dissertation JIAN 2016 Final
The Impact of Global English in Xinjiang, China: Linguistic Capital and Identity Negotiation among the Ethnic Minority and Han Chinese Students Ge Jian A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2016 Reading Committee: Laada Bilaniuk, Chair Ann Anagnost, Chair Stevan Harrell Program Authorized to Offer Degree: Anthropology © Copyright 2016 Ge Jian University of Washington Abstract The Impact of Global English in Xinjiang, China: Linguistic Capital and Identity Negotiation among the Ethnic Minority and Han Chinese Students Ge Jian Chair of the Supervisory Committee: Professor Laada Bilaniuk Professor Ann Anagnost Department of Anthropology My dissertation is an ethnographic study of the language politics and practices of college- age English language learners in Xinjiang at the historical juncture of China’s capitalist development. In Xinjiang the international lingua franca English, the national official language Mandarin Chinese, and major Turkic languages such as Uyghur and Kazakh interact and compete for linguistic prestige in different social scenarios. The power relations between the Turkic languages, including the Uyghur language, and Mandarin Chinese is one in which minority languages are surrounded by a dominant state language supported through various institutions such as school and mass media. The much greater symbolic capital that the “legitimate language” Mandarin Chinese carries enables its native speakers to have easier access than the native Turkic speakers to jobs in the labor market. Therefore, many Uyghur parents face the dilemma of choosing between maintaining their cultural and linguistic identity and making their children more socioeconomically mobile. The entry of the global language English and the recent capitalist development in China has led to English education becoming market-oriented and commodified, which has further complicated the linguistic picture in Xinjiang. -
Movie Tv Sho Audio Radio
70 FILM REVIEWS MOVIES 71 NEW MOVIES ONBOARD 72 MOVIES TV SHOWS 74 TV SHOWS AUDIO Entertainment 76 AUDIO/RADIO RADIO © 2018 20TH CENTURY FOX. ALL RIGHTS RESERVED. BAD TIMES AT THE EL ROYALE FILM REVIEWS WANT HELP WITH WHAT TO WATCH THIS MONTH? FILMMAKER AND DIRECTOR KAM RASLAN MAKES THE CASE FOR THESE THREE MOVIES. THE INCREDIBLES Is The Incredibles the best animated movie ever? Yes. Yes, it is. It’s hilariously funny, exciting, moving and visually beautiful. A family of superheroes have to live in witness protection as normal people because superheroes have been deemed a menace to society. Naturally, Mr Incredible hates his boring life as an insurance salesman and his goingplacesmagazine.com children have to hide their superhero skills. But when an opportunity for a return to the old life comes knocking, Mr Incredible puts his entire family at risk, which sounds like a job LOGAN for Elastigirl. Is Logan the best superhero movie ever? EDGE OF TOMORROW Probably. A thunderous Hugh Jackman Because it was made all the way back in Is Edge of Tomorrow the best science fiction | 70 is Wolverine one last time as he plays a 2004, the animation for The Incredibles may movie ever? Maybe not, but it’s definitely | January 2019 January | reluctant father figure to the stunningly not seem quite as plush as, say, Zootopia, the best science fiction movie starring Tom intense young actress Dafne Keen. On a but director Brad Bird (who made his name Cruise, and when it comes to big-budget desperate journey from Mexico to the far with The Simpsons) created such a complete action Hollywood movies, nobody delivers north, the pair are perfectly matched as universe that you instantly forget. -
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. -
Cyberarts 2021 Since Its Inception in 1987, the Prix Ars Electronica Has Been Honoring Creativity and Inno- Vativeness in the Use of Digital Media
Documentation of the Prix Ars Electronica 2021 Lavishly illustrated and containing texts by the prize-winning artists and statements by the juries that singled them out for recognition, this catalog showcases the works honored by the Prix Ars Electronica 2021. The Prix Ars Electronica is the world’s most time-honored media arts competition. Winners are awarded the coveted Golden Nica statuette. Ever CyberArts 2021 since its inception in 1987, the Prix Ars Electronica has been honoring creativity and inno- vativeness in the use of digital media. This year, experts from all over the world evaluated Prix Ars Electronica S+T+ARTS 3,158 submissions from 86 countries in four categories: Computer Animation, Artificial Intelligence & Life Art, Digital Musics & Sound Art, and the u19–create your world com - Prize ’21 petition for young people. The volume also provides insights into the achievements of the winners of the Isao Tomita Special Prize and the Ars Electronica Award for Digital Humanity. ars.electronica.art/prix STARTS Prize ’21 STARTS (= Science + Technology + Arts) is an initiative of the European Commission to foster alliances of technology and artistic practice. As part of this initiative, the STARTS Prize awards the most pioneering collaborations and results in the field of creativity 21 ’ and innovation at the intersection of science and technology with the arts. The STARTS Prize ‘21 of the European Commission was launched by Ars Electronica, BOZAR, Waag, INOVA+, T6 Ecosystems, French Tech Grande Provence, and the Frankfurt Book Fair. This Prize catalog presents the winners of the European Commission’s two Grand Prizes, which honor Innovation in Technology, Industry and Society stimulated by the Arts, and more of the STARTS Prize ‘21 highlights. -
Haiti Leader Says UK Aid Workers Violated
ENGLISH, CHINESE SEXUAL ASSAULT CHINA’S INFLUENCE EACH OTHER REPORTS AGAINST WYNN Andrew Moody talks on how Two more sexual misconduct FORMER English and Chinese continue to allegations were leveled INTERNET influence each other in cultural against embattled casino CZAR crossover points like Macau mogul Steve Wynn OUSTED P2 MDT INTERVIEW P3,9 OPINION P10 CORRUPTION THU.15 Feb 2018 T. 14º/ 21º C H. 75/ 98% facebook.com/mdtimes + 11,000 MOP 8.00 2988 N.º HKD 10.00 FOUNDER & PUBLISHER Kowie Geldenhuys EDITOR-IN-CHIEF Paulo Coutinho www.macaudailytimes.com.mo “ THE TIMES THEY ARE A-CHANGIN’ ” WORLD BRIEFS HKZMB SOUTH CHINA SEA The Philippine government rejects Chinese names given to some undersea features in a vast offshore region where the Philippines has Macau to hold 600 undisputed sovereign rights, the presidential spokesman said yesterday in a new tiff despite the Asian neighbors’ mended ties. More on p11 vehicle quota on bridge P5 AP PHOTO AP PHOTO CAMBODIA Lawmakers yesterday unanimously approved changes to the criminal code and the constitution that can further limit free speech and political activities, already under stress from the government of Prime Minister Hun Sen (pictured). More on p13 MYANMAR Two Myanmar journalists facing up to 14 years in prison if convicted of receiving government secrets appeared for their latest court hearing in Yangon yesterday, one day after it was announced that they had won a major press freedom award. More on p14 AP PHOTO PAKISTAN Amid increasing pressure from the international community, Pakistan yesterday initiated a OXFAM SCANDAL much-awaited process of seizing assets and funds belonging to Islamic charities linked Haiti leader says UK aid workers to a radical cleric wanted by the U.S., officials said. -
First Rated Drama Beyond the Realm of Conscience Premiers on Astro WLT Casts Showed up at Malaysia to Greet Devoted Fans
Press Release 24th November, 2010 First Rated Drama Beyond the Realm of Conscience Premiers on Astro WLT Casts Showed Up at Malaysia To Greet Devoted Fans As the top-rating TVB drama in 2009, Beyond the Realm of Conscience’s main characters, storylines and dialogues captured most Hong Kong audiences’ hearts ever since its release. With its marvelous cast and script, this popular drama became the talk of the town last year. Premiering on Astro’s Wah Lai Toi (Channel 311) on the 30th of November at 9:30pm every Monday to Friday, four main characters, Moses Chan(Emperor Lee Yi), Susanna Kwan (Yuen Tsui Wan, Head of the Jewels), Selena Li (Concubine Yin) and Edwin Siu (Emperor Lee Chin) visited Malaysia on the 6th of November in promotion of this costume drama hit. Upon their arrival, the “Royal family” rushed to the press conference. Besides being interviewed by the enthusiastic Malaysian media, questions revolving Can’t Buy Me Love: a brand new costume comedy with the same casting as the former title, were also highly-anticipated and frequently mentioned. After the interview session, the stars made appearances at public ground event at 1Borneo at Kota Kinabalu to greet their long-awaiting local followers. Fans were participating in exciting stage games alongside their idols where winners got to walk away with attractive prizes. On top of that, all four of them were sharing about their experiences throughout the shooting of the drama and updated their fans on their recent happenings. The climax of the event was definitely the performances by songstress Susanna Kwan where she sang the themed song of the drama. -
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 -
Filmart 2014 №1
DAILY MARCH 24, FILMART 2014 №1 THR.COM/FILMART China_3D_cover_Day1.indd 1 3/21/14 3:18 PM ASIAN PREMIERE INTERNATIONAL MARKET PREMIERE Mon, 24th Mar. Mon,/ 16:00 24th /Mar. AMC / 16:00 Pacific / AMC 4 Pacific/ By Invitation4 / Market (BY INVITATION ONLY) Tue, 25th Mar. / 10:00 / AMC Pacific 1 / By Invitation Tue, 25th Mar. / 10:00 / AMC Pacific 1 / Market (BY INVITATION ONLY) Fortissimo Films HKIFF + HK Filmart Booth: 1E - B09 To set up a meeting with us, please e-mail to [email protected] HK 2014_THR_another me.indd 1 2014/3/19 �� 8:32 Fortissimo FP_Day1.indd 1 3/19/14 11:18 AM MARCH 24, 2014 THR.COM/FILMART FILMART №1 HONG KONG TODAY TOMORROW WEATHER AND HIGH 73° F 71° F TEMPS 23° C 22° C IP MAN 3 Chinese Movie Boom Boosts Filmart KICKS INTO An increased presence from the Mainland sparks optimism among dealmakers hoping to HIGH GEAR grab a larger slice of the world’s fastest-growing film marketBy Clifford Coonan and Karen Chu By Karen Chu ong Kong Filmart is already Asia’s largest wait and see. It’s a curtain raiser for Cannes and egasus Motion Pictures film market in terms of exhibitor numbers, advance showcase for upcoming projects, and it is will begin filming Ip H but coming shortly before Cannes, it is increasingly well attended.” P Man 3 in early 2015. an annual challenge to convince buyers to open But the growing allure of Chinese-language With a budget of $30 mil- their wallets in Asia, rather than wait for the bigger movies makes Filmart ever more important to lion, the finale of the trilogy, European platform. -
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%