DOCSLIB.ORG

Extraterritoriality Locating Hong Kong Cinema and Media

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

VICTOR FAN EXTRATERRITORIALITY LOCATING HONG KONG CINEMA AND MEDIA Extraterritoriality To Sabina Extraterritoriality Locating Hong Kong Cinema and Media Victor Fan Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © Victor Fan, 2019 Edinburgh University Press Ltd The Tun – Holyrood Road, 12 (2f) Jackson’s Entry, Edinburgh EH8 8PJ Typeset in Monotype Ehrhardt by Servis Filmsetting Ltd, Stockport, Cheshire, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 4042 4 (hardback) ISBN 978 1 4744 4044 8 (webready PDF) ISBN 978 1 4744 4045 5 (epub) The right of Victor Fan to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). Parts of the following articles and book chapters have been revised and incorporated in this book, with their publishers’ permission: ‘Cultural extraterritoriality: Intra-regional politics in contemporary Hong Kong Cinema,’ East Asian Journal of Popular Culture 1, no. 3 (September 2015), pp. 389–402. ‘Poetics of parapraxis and reeducation: The Hong Kong Cantonese cinema in the 1950s’, in The Poetics of Chinese Cinema, (eds) Gary Bettison and James Udden (London: Palgrave Macmillan, 2016), pp. 167–83. ‘Extraterritorial cinema: Shanghai jazz and post-war Hong Kong Mandarin musicals’, The Soundtrack 6, nos. 1 and 2 (2014 [2015]), pp. 33–52. Figure 3.2, a production still from the 1990 performance of Zuni Icosahedron’s Deep Structure of Chinese (Hong Kong) Cultures, is reproduced here with the permission of director Danny Yung. The cover photo, a production still from Ziyou xing [A Family Tour, 2018], is reproduced here with the permission of director Ying Liang. Contents List of Figures vi Acknowledgements viii Notes on Transliteration xi On Extraterritoriality 1 1. What is Hong Kong Cinema? 36 2. Breaking the Wave 70 3. The Time it Takes for Time to End 111 4. Posthistoricity 157 5. The Age of Precarity 196 The Body of Extraterritoriality 238 Notes 268 Filmography and Videography 315 Index 323 vi extraterritoriality 4.1 Timmy stares directly at the camera while Xiaobei reads his nominal identity 188 4.2 Xiaobei and Zhang Lei look up to Timmy 188 Figures 4.3 Timmy looks back at Xiaobei 188 4.4 Timmy and Zhang Lei occupy the same liminal position 191 4.5 A proto-military image of fishing boats leaving the harbour 192 4.6 The sight of Timmy being executed 194 5.1 Joshua Wong in Lessons in Dissent 216 0.1–0.8 The ‘Night of Shanghai’ sequence in An All- 5.2 Intercepting an attempt to investigate a water-balloon Consuming Love 26–7 incident in Midnight in Mongkok 219 0.9 An All-Consuming Love: Zhijian throws a record of 5.3 P recounts her experience of being sexually harassed in Do Xiangmei’s song into the sea 29 You Hear Women Sing? 220 1.1 Verticalisation of the social dialectics in In the Face of 5.4 Original footage of the protests framed as memories in Demolition 64 Road Not Taken 224 1.2 Development of in-group solidarity 65 5.5 Fung tries to reach Lam in Civic Square 225 2.1 The opening sequence of The Arch 79 5.6–5.7 Two sides of Admiralty and two modes of temporality in 2.2 The Arch: mirroring-drifting enables the spectator to be Yellowing 228 sexually stimulated 82 5.8 An intimate interview of Edward Leung in Lost in the 2.3 In The Arch, desolation is sensed through the process of Fumes 235 mirroring-drifting 83 6.1 A bird’s-eye view of a worker labouring in a gigantic 2.4 The final montage of The Arch 84 machine in We the Workers 260 2.5 In ‘Miu Kam-fung’, one of Joe’s girlfriends waits for him 94 6.2 In A Family Tour, the film momentarily decentres Xiaolin 2.6 In ‘Miu Kam-fung’, Joe and his two lovers wait for their and Yang’s story 263 dinner under a pop art mural 95 2.7 Joe flips through a capitalist and communist magazine side-by-side 95 2.8 Joe and his friends swagger into a car dealer to test drive an Austin Princess 2220 96 2.9 In ‘The Boy from Vietnam’, Hing-nin performs cạo gaió on Man 103 2.10 In a night market, Chung spots a ghostly sex worker 106 2.11 Man’s penultimate dream sequence 107 3.1 Boat People: the affect of extraterritoriality 129 3.2 The central motif of Deep Structure of Chinese (Hong Kong) Cultures 146 3.3 The blindfolded young woman in May Fung, She Said Why Me 147 3.4–3.6 Ellen Pau’s Drained II 150 3.7 ‘Letter 1’ in Video Letters 1–3 152 3.8 The abstract spectre of Yam Kim-fai in Song of the Goddess 155 figures vii 4.1 Timmy stares directly at the camera while Xiaobei reads his nominal identity 188 4.2 Xiaobei and Zhang Lei look up to Timmy 188 4.3 Timmy looks back at Xiaobei 188 4.4 Timmy and Zhang Lei occupy the same liminal position 191 4.5 A proto-military image of fishing boats leaving the harbour 192 4.6 The sight of Timmy being executed 194 5.1 Joshua Wong in Lessons in Dissent 216 5.2 Intercepting an attempt to investigate a water-balloon incident in Midnight in Mongkok 219 5.3 P recounts her experience of being sexually harassed in Do You Hear Women Sing? 220 5.4 Original footage of the protests framed as memories in Road Not Taken 224 5.5 Fung tries to reach Lam in Civic Square 225 5.6–5.7 Two sides of Admiralty and two modes of temporality in Yellowing 228 5.8 An intimate interview of Edward Leung in Lost in the Fumes 235 6.1 A bird’s-eye view of a worker labouring in a gigantic machine in We the Workers 260 6.2 In A Family Tour, the film momentarily decentres Xiaolin and Yang’s story 263 viii extraterritoriality circle and in academia. The most important people are James Mudge and Xie Jingjing at the Chinese Visual Festival (London) and the one and only Tony Rayns! Furthermore, I am extremely grateful to have Acknowledgements the opportunities to work with all past and current members of the Chinese Visual Festival team (Sylvia Zhan, Swani Ip, Matthew Hurst, Ciu Cen and Andrew Heskins, who also runs easternKicks.com), David Somerset from the British Film Institute, Roger Garcia from the Hong Kong International Film Festival, Yuni Hadi and Weijie Lai from the Revisiting memories – both lived and cinematic – from my childhood Singapore International Film Festival, my buddy from the University of and teenage years, an era during which Hong Kong went through some Southern California Aditya Assarat, and Hye-jung Jeon from the London of its most tumultuous trials and tribulations, was a painful experience. East Asian Film Festival. It is also wonderful to be pampered by all the Furthermore, to analyse how it feels to be a Hong Konger and why it is Nice Looking People of the Network of Asian Film Festival in Europe: so difficult to articulate those feelings required a level of self-honesty that Sonali Joshi from Day For Night (London), Kristina Aschenbrennerova was at times emotionally draining. I am therefore tremendously grateful from Art Film Fest (Košice), Nancy Fornoville from Camera Japan for many people who walked me through this extraordinary journey. (Rotterdam and Amsterdam), Jakub Królikowski from Five Flavours ‘Extraterritoriality’ as a concept was inspired by my many conversa- Film Festival (Warsaw) and Joshua Smith from the Japanese Avant-garde tions with my friend and mentor Thomas LaMarre, with whom I had the and Experimental Film Festival (London). Of course, I also want to thank privilege to work at McGill University from 2010 to 2012. Its intricacies the stunning-looking Julian Ross from the International Film Festival and complexities have been enriched over the years under the gener- Rotterdam, Davide Cazzaro from NANG and Sabrina Baracetti from the ous guidance of Thomas Elsaesser, the unconditional support of Dudley Far East Film Festival (Udine). Andrew and Haun Saussy, and the patience and encouragement from In the past eight years, the idea of ‘extraterritoriality’ has been devel- Chris Berry. Every word of this book, in truth, is indebted to the intel- oped, tested and defended in conferences and publications. I treasure the lectual companionship of my friend George Crosthwait. memories of my joyful time at the Society of Cinema and Media Studies I feel incredibly honoured that in the last eight years, many filmmakers, (SCMS) with Frederik Green, Wei Yang and Yanhong Zhu, with whom critics and scholars whose works I discuss in this book have put every I edited a special issue of East Asian Journal of Popular Culture, where confidence in my project. Some I have met in chance encounters, whose my discussion of Drug War was first published. I want to thank Robert works and words have left indelible traces on these pages. Others have Hyland for inviting me to give a keynote on extraterritoriality at the Bader become friends and kindred spirits.
Recommended publications
  • Pop Songs Between 1930S and 1940S in Shanghai”—Aesthetic Release of Eros Utopia

    Pop Songs Between 1930S and 1940S in Shanghai”—Aesthetic Release of Eros Utopia

    Journal of Literature and Art Studies, December 2016, Vol. 6, No. 12, 1545-1548 doi: 10.17265/2159-5836/2016.12.010 D DAVID PUBLISHING Behind “Pop Songs Between 1930s and 1940s in Shanghai”—Aesthetic Release of Eros Utopia ZHOU Xiaoyan Yancheng Institute of Technology, Jiangsu, China CANG Kaiyan, ZHOU Hanlu Jiangsu Yancheng Middle School, Jiangsu, China “Pop Songs between 1930s and 1940s in Shanghai” contains the artistic phenomenon with the utopian feature. Its main objective lies in the will instead of hope. The era endows different aesthetic utopian meanings to “Pop Songs between 1930s and 1940s in Shanghai”. After 2010, the utopian change of such songs is closely related to the contradiction between “aesthetic imagination and reality”, and “individual interest and integrated social interest” that are intrinsic in the utopian concept. To sort out the utopian process of those songs, it is helpful for correcting the current status about the weakened critical realism function of the current art, and accelerating the arousal of the literary and artistic creation, and individual consciousness, laying equal stress on and gathering the aesthetic power of these individuals, which provides solid foundation for the generalization of aesthetic utopian significance. Keywords: Shanghai Oldies (Pop Songs between 1930s and 1940s in Shanghai), aesthetic utopia, internal contradiction Introduction “Shanghai Oldies” refers to the pop songs that were produced and popular in Shanghai, sung widely over the country from 1930s to 1940s. It presents the graceful charm related to the south of the Yangtze River between grace and joy feature. It not only shows the memory of metropolis (invested with foreign adventures) in Old Shanghai, but also creates “Eros Utopia” based on presenting the ordinary love, instead of perfect political institution planning.
  • Fei Mu's Aesthetics of Desolation in Spring In

    Fei Mu's Aesthetics of Desolation in Spring In

    CHAPTER FOUR BETWEEN FORGETTING AND THE REPETITIONS OF MEMORY: FEI MU’S AESTHETICS OF DESOLATION IN SPRING IN A SMALL TOWN Heroism has strength but no beauty and thus seems to lack humanity. Tragedy, however, resembles the matching of bright red with deep green: an intense and unequivocal contrast. And yet it is more exciting than truly revelatory. The reason desolation resonates far more profoundly is that it resembles the conjunction of scallion green with peach red, creating an equivocal contrast. I like writing by way of equivocal contrast because it is relatively true to life.1 Like wartime cartoonists, poets, dramatists, and other artists who traveled inland to promote the cause of resistance, the Chinese film industry was also displaced to the Nationalist interior during the War of Resistance. The Nationalist government-owned Central Film Studio (Zhongyang diangy- ing sheyingchang 中央电影摄影场) and China Motion Pictures Studio (Zhongguo dianying zhipianchang 中国电影制片厂) were relocated to Chongqing, where the government encouraged the production of docu- mentary and feature films to promote the war effort. However, political instability, inflation, supply problems, and inadequate means of distribu- tion made it difficult to create high-quality films, and both Central Film and China Motion Pictures were forced to suspend filmmaking activities between 1941 and 1943.2 Although film studios in “Orphan Island” (gudao 孤岛) Shanghai, Hong Kong, and Manchuria operated throughout most of the war, working under the watchful eye of Japanese censors, filmmakers in the occupied regions were unable to produce films that explored in depth the experiences of ordinary people in wartime. 1 Eileen Chang, “Writing of One’s Own,” p.
  • The Globalization of Chinese Food ANTHROPOLOGY of ASIA SERIES Series Editor: Grant Evans, University Ofhong Kong

    The Globalization of Chinese Food ANTHROPOLOGY of ASIA SERIES Series Editor: Grant Evans, University Ofhong Kong

    The Globalization of Chinese Food ANTHROPOLOGY OF ASIA SERIES Series Editor: Grant Evans, University ofHong Kong Asia today is one ofthe most dynamic regions ofthe world. The previously predominant image of 'timeless peasants' has given way to the image of fast-paced business people, mass consumerism and high-rise urban conglomerations. Yet much discourse remains entrenched in the polarities of 'East vs. West', 'Tradition vs. Change'. This series hopes to provide a forum for anthropological studies which break with such polarities. It will publish titles dealing with cosmopolitanism, cultural identity, representa­ tions, arts and performance. The complexities of urban Asia, its elites, its political rituals, and its families will also be explored. Dangerous Blood, Refined Souls Death Rituals among the Chinese in Singapore Tong Chee Kiong Folk Art Potters ofJapan Beyond an Anthropology of Aesthetics Brian Moeran Hong Kong The Anthropology of a Chinese Metropolis Edited by Grant Evans and Maria Tam Anthropology and Colonialism in Asia and Oceania Jan van Bremen and Akitoshi Shimizu Japanese Bosses, Chinese Workers Power and Control in a Hong Kong Megastore WOng Heung wah The Legend ofthe Golden Boat Regulation, Trade and Traders in the Borderlands of Laos, Thailand, China and Burma Andrew walker Cultural Crisis and Social Memory Politics of the Past in the Thai World Edited by Shigeharu Tanabe and Charles R Keyes The Globalization of Chinese Food Edited by David Y. H. Wu and Sidney C. H. Cheung The Globalization of Chinese Food Edited by David Y. H. Wu and Sidney C. H. Cheung UNIVERSITY OF HAWAI'I PRESS HONOLULU Editorial Matter © 2002 David Y.
  • Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis

    Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis

    arts Article Cultural “Authenticity” as a Conflict-Ridden Hypotext: Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis Zhuoyi Wang Department of East Asian Languages and Literatures, Hamilton College, Clinton, NY 13323, USA; [email protected] Received: 6 June 2020; Accepted: 7 July 2020; Published: 10 July 2020 Abstract: Disney’s Mulan (1998) has generated much scholarly interest in comparing the film with its hypotext: the Chinese legend of Mulan. While this comparison has produced meaningful criticism of the Orientalism inherent in Disney’s cultural appropriation, it often ironically perpetuates the Orientalist paradigm by reducing the legend into a unified, static entity of the “authentic” Chinese “original”. This paper argues that the Chinese hypotext is an accumulation of dramatically conflicting representations of Mulan with no clear point of origin. It analyzes the Republican-era film adaptation Mulan Joins the Army (1939) as a cultural palimpsest revealing attributes associated with different stages of the legendary figure’s millennium-long intertextual metamorphosis, including a possibly nomadic woman warrior outside China proper, a Confucian role model of loyalty and filial piety, a Sinitic deity in the Sino-Barbarian dichotomy, a focus of male sexual fantasy, a Neo-Confucian exemplar of chastity, and modern models for women established for antagonistic political agendas. Similar to the previous layers of adaptation constituting the hypotext, Disney’s Mulan is simply another hypertext continuing Mulan’s metamorphosis, and it by no means contains the most dramatic intertextual change. Productive criticism of Orientalist cultural appropriations, therefore, should move beyond the dichotomy of the static East versus the change-making West, taking full account of the immense hybridity and fluidity pulsing beneath the fallacy of a monolithic cultural “authenticity”.
  • HUMA 1210: Chinese Women on Screen

    HUMA 1210: Chinese Women on Screen

    HUMA 1210: Chinese Women on Screen Instructor: Daisy Yan Du Associate Professor Division of Humanities Office: Room 2369 (Lift 13-15), Academic Bldg Office phone: (852) 2358-7792 E-mail: [email protected] Office hours: by appointment only Teaching Assistant: Song HAN E-mail: [email protected] Office: Room 3001 (Lift 4), Academic Bldg Office hours: by appointment only Time & Classroom: Time: 12-14:50pm, Friday, Spring 2019 Room: LTH Required Readings: • All available online at “Files,” Canvas Course Description: This course examines Chinese women as both historical and fictional figures to unravel the convoluted relationship between history and visual representations. It follows a chronological order, beginning with women in Republican China and ending with contemporary female immigrants in the age of globalization. The changing images of women on screen go hand in hand with major cinematic movements in history, including the leftist turn in the 1930s, the rise of animation in wartime Shanghai, socialist filmmaking during the Seventeen Years (1949-1966), the birth of model opera film during the Cultural Revolution (1966-1976), post-1989 underground/independent filmmaking, and the globalization of cinema in contemporary China. Approaches of film analyses and gender/sexuality theories will be introduced throughout the course. All reading materials, lectures, classroom discussions, and exams are in English. Course Objectives: By the end of this semester students should be able to: • track the changing images of women in history • track
  • OFFICIAL RECORD of PROCEEDINGS Thursday, 18

    OFFICIAL RECORD of PROCEEDINGS Thursday, 18

    LEGISLATIVE COUNCIL ─ 18 November 2010 2357 OFFICIAL RECORD OF PROCEEDINGS Thursday, 18 November 2010 The Council continued to meet at Nine o'clock MEMBERS PRESENT: THE PRESIDENT THE HONOURABLE JASPER TSANG YOK-SING, G.B.S., J.P. THE HONOURABLE ALBERT HO CHUN-YAN IR DR THE HONOURABLE RAYMOND HO CHUNG-TAI, S.B.S., S.B.ST.J., J.P. THE HONOURABLE LEE CHEUK-YAN THE HONOURABLE FRED LI WAH-MING, S.B.S., J.P. DR THE HONOURABLE MARGARET NG THE HONOURABLE JAMES TO KUN-SUN THE HONOURABLE CHEUNG MAN-KWONG THE HONOURABLE CHAN KAM-LAM, S.B.S., J.P. THE HONOURABLE MRS SOPHIE LEUNG LAU YAU-FUN, G.B.S., J.P. THE HONOURABLE LEUNG YIU-CHUNG DR THE HONOURABLE PHILIP WONG YU-HONG, G.B.S. THE HONOURABLE LAU KONG-WAH, J.P. THE HONOURABLE MIRIAM LAU KIN-YEE, G.B.S., J.P. 2358 LEGISLATIVE COUNCIL ─ 18 November 2010 THE HONOURABLE ANDREW CHENG KAR-FOO THE HONOURABLE TIMOTHY FOK TSUN-TING, G.B.S., J.P. THE HONOURABLE TAM YIU-CHUNG, G.B.S., J.P. THE HONOURABLE ABRAHAM SHEK LAI-HIM, S.B.S., J.P. THE HONOURABLE LI FUNG-YING, S.B.S., J.P. THE HONOURABLE TOMMY CHEUNG YU-YAN, S.B.S., J.P. THE HONOURABLE FREDERICK FUNG KIN-KEE, S.B.S., J.P. THE HONOURABLE AUDREY EU YUET-MEE, S.C., J.P. THE HONOURABLE VINCENT FANG KANG, S.B.S., J.P. THE HONOURABLE WONG KWOK-HING, M.H. THE HONOURABLE LEE WING-TAT DR THE HONOURABLE JOSEPH LEE KOK-LONG, S.B.S., J.P.
  • New Round of “Spend-To-Redeem Free Tours” Open for Registration Tomorrow

    New Round of “Spend-To-Redeem Free Tours” Open for Registration Tomorrow

    PRESS RELEASE 新聞稿 Date: 31 May 2021 Total page: 1 New Round of “Spend-to-Redeem Free Tours” Open for Registration Tomorrow The Hong Kong Tourism Board (HKTB) is rolling out a new round of the “Spend-to-Redeem Free Tours” programme, with registration opening tomorrow (1 June). About 190 itineraries, designed by various local tour operators, are available in the new round, which will be uploaded to the HKTB’s programme website in two batches. Starting from tomorrow, members of the public can choose from the first batch of about 130 itineraries and register directly with the tour operators. The first batch of itineraries uploaded cover a wide range of themes and experiences, including the Scenic Harbour, Lively Culture, Gastro-Fantasies, Endless Entertainment, Neighbourhoods and Family Fun. On top of local attractions, the itineraries include workshops related to gourmet food and handicrafts, fishing and farming activities, as well as pet-friendly experience. Half-day tours include at least two points of interests and one meal, many of which offer a hotel buffet, seafood tasting on an outlying island, or other delicacies (see appendix). Members of the public can register for a local tour with machine-printed receipt(s) after spending HK$800 or more at local retail and dining outlets. Registered participants are required to submit the receipt(s) to the tour operator and pay a deposit of HK$100 per person (to be returned on the day of the tour). To meet the government’s latest anti-pandemic requirements, all participating tour operators are required to sign the Anti-epidemic Undertakings for Local Tours.
  • Western Medicine for Chinese

    Western Medicine for Chinese

    Western Medicine for Chinese How the Hong Kong College of Medicine Achieved a Breakthrough Faith C. S. Ho A grant to the author from the Lord Wilson Heritage Trust of Hong Kong towards research for this book is gratefully acknowledged. A grant from the Li Ka Shing Faculty of Medicine of the University of Hong Kong towards the publication costs of this book is gratefully acknowledged. Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-94-6 (Hardback) 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. Cover photo: Dr. James Cantlie and students of the College of Medicine, Hong Kong, 1893. Courtesy of Wellcome Library, London. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Hang Tai Printing Co., Ltd., Hong Kong, China Contents Foreword vi Preface and Acknowledgements viii Common Abbreviations Used xii Chapter 1 Introduction to the College 1 Chapter 2 People and Institutions 24 Chapter 3 Career Prospects 39 Chapter 4 The Early Pioneers (1892–1899) 50 Chapter 5 Decade of Change (1900–1909) 69 Chapter 6 Two Events That Shaped the Final Years 96 Chapter 7 Culmination of Efforts (1910–1918) 120 Chapter 8 Other Contributions to Society 132 Chapter 9 Some Unusual and Some Outstanding Personalities 142 Chapter 10 Conclusions 171 Appendix 1 The Dean’s Inaugural Address at the Opening of the College of Medicine for Chinese, Hong Kong 189 Appendix 2 List of Graduates in Order of Year of Graduation, Hong Kong College of Medicine 200 Appendix 3 List of Interviewees 202 Selected Bibliography 204 Biographical Index 216 Index 221 Foreword 「落其實者思其樹，飲其流者懷其源。」 庾信，《郊廟歌辭 • 徵調曲》 Remember well the tree whence fruits fall, and the stream whence water springs.
  • Review of Sexual Offences Sub-Committee

    Review of Sexual Offences Sub-Committee

    THE LAW REFORM COMMISSION OF HONG KONG REPORT VOYEURISM AND NON-CONSENSUAL UPSKIRT-PHOTOGRAPHY This report can be found on the Internet at: <http://www.hkreform.gov.hk> April 2019 The Law Reform Commission of Hong Kong was established by the Executive Council in January 1980. The Commission considers for reform such aspects of the law as may be referred to it by the Secretary for Justice or the Chief Justice. The members of the Commission at present are: Chairman: Ms Teresa Cheng, GBS, SC, JP, Secretary for Justice Members: The Hon Chief Justice Geoffrey Ma, GBM The Hon Mr Justice Andrew Cheung, PJ Ms Theresa Johnson, Law Draftsman Ms Christine Fang, BBS, JP Professor Christopher Gane Professor Michael Hor Mr Allan Leung Professor Lin Feng Ms Alexandra Lo, JP Mr Robert Y H Pang, SC Ms Winnie Tam, SC, JP Ms Melissa Wu The Acting Secretary of the Commission is Ms Adeline Wan, Acting Principal Government Counsel and the Commission's offices are at: 4/F East Wing, Justice Place 18 Lower Albert Road Central Hong Kong Telephone: 3918 4097 Fax: 3918 4096 E-mail: [email protected] Website: http://www.hkreform.gov.hk THE LAW REFORM COMMISSION OF HONG KONG REPORT VOYEURISM AND NON-CONSENSUAL UPSKIRT-PHOTOGRAPHY _____________________________________________________ CONTENTS Page Introduction 1 Terms of reference 1 The Sub-committee and its work to date 2 Previous work of the Sub-committee 4 Sexual Offences Records Checks for Child-Related Work 4 Presumption that a Boy under 14 is Incapable of Sexual 4 Intercourse Overall Review of the Substantive
  • Cb(4)590/12-13(01)

    Cb(4)590/12-13(01)

    立法會 Legislative Council LC Paper No. CB(4)590/12-13(01) Ref : CB4/HS/1/12 Background brief prepared by the Legislative Council Secretariat Subcommittee on Proposed Senior Judicial Appointments Purpose 1. This paper provides background information on the procedure for endorsement of senior judicial appointments by the Legislative Council ("LegCo") under Article 73(7) of the Basic Law ("BL 73(7)") and gives a brief account of the relevant discussions by LegCo committees. Relevant provisions of the Basic law and the Hong Kong Court of Final Appeal Ordinance (Cap. 484) 2. BL 48(6) confers on the Chief Executive ("CE") the power and function to appoint judges of the courts at all levels in accordance with legal procedures. In accordance with BL 88, judges shall be appointed by CE on the recommendation of an independent commission, namely, the Judicial Officers Recommendation Commission ("JORC"). 3. In the case of the appointment of judges of the Court of Final Appeal ("CFA") and the Chief Judge of the High Court, BL 90 provides that CE shall, in addition to following the procedures prescribed in BL 88, obtain the endorsement of LegCo. Subject to the endorsement of LegCo, CE shall report such appointment to the Standing Committee of the National People's Congress for the record. BL 73(7) correspondingly confers on LegCo the power and function to endorse the appointment of CFA judges and the Chief Judge of High Court. Such procedure is also stipulated in section 7A of the CFA Ordinance. - 2 - JORC Membership 4. Pursuant to BL88 and the JORC Ordinance (Cap.
  • How Corporate Giants Can Better Collaborate with Deep-Tech Start-Ups

    How Corporate Giants Can Better Collaborate with Deep-Tech Start-Ups

    Open Innovation How Corporate Giants Can Better Collaborate with Deep-Tech Start-ups. The Case of East and Southeast Asia Index Executive Summary 6 1. Introduction: The Stories of Toyota, Samsung, Alibaba, and Lenovo 9 2. Corporate Venturing in Deep Tech: An Emerging Trend 12 2.1 What Is Deep Tech? 12 2.2 What Is Corporate Venturing and What Is Its Connection to Deep Tech? 16 2.3 The Case of East and Southeast Asia 17 3. Corporate Venturing in Deep Tech: What We Don’t Know 19 3.1 Unsolved Questions in the Literature 19 3.2 A Relevant Field 21 4. Our Results 22 4.1 Analyzed Population and Sample 22 4.2 Corporate Venturing in Deep Tech: Adoption Rates 22 4.3 Corporate Venturing in Deep Tech: What Keeps Chief Innovation Officers Up at Night 25 4.4 Corporate Venturing in Deep Tech: Tackling Problems with Architecture 28 5. Connecting the Dots: Now What? 37 5.1 How Can These Results Help Chief Innovation Officers Around the World? 37 6. Appendixes 41 2 IESE Business School Open Innovation 3 Authors Josemaria Siota Mª Julia Prats IESE Business School IESE Business School [email protected] [email protected] Researcher Vittoria Emanuela Bria IESE Business School Published in May 2021 4 IESE Business School Corporate Venturing Corporate Giants Innovating with Deep-Tech Start-ups The Case of East and Southeast Asia The Term Deep Tech Is Not New Understand this concept to implement, measure and improve it properly. Artificial intelligence Robotics and drones Deep tech is “a group of emerging technologies based on scientific discoveries or meaningful Advanced materials Photonics and electronics engineering innovations, offering a substantial advance over established technologies, and Biotechnology Quantum computing seeking to tackle some of the world’s fundamental Blockchain challenges.” Corporate Venturing In Deep Tech Is Growing at Speed Don’t miss the opportunity: Consider partnerships in this field with (and from) East and Southeast Asia too.
  • A Moment in Time Press

    A Moment in Time Press

    A Moment in Time 聲光轉逝 Press Kit CONTACTS e: [email protected] www.kbikfilms.com The image of Bai Xue-xian illuminates the curtain at the Great Star Theatre in San Francisco’s Chinatown. A Moment in Time Directed by Ruby Yang Producer Lambert Yam Executive Producer William Smock Length: 57 minutes Film Format: DV CAM Original Language: English Short Synopsis A Moment in Time is a one-hour documentary about the experience of the Chinese in America through the films they loved. Paragraph Synopsis A Moment in Time, a new film by Oscar-winner Ruby Yang, is a one-hour documentary about the experience of the Chinese in America through the films they loved -- from Cantonese opera to Westerns. It harkens back to a time when six movie theaters in San Francisco’s Chinatown crystallized the memories, the beliefs, the sorrows and aspirations of Chinese immigrant families. Chinese movies reduced an older generation to tears. They challenged the young to find out how they could be American and Chinese at the same time. The principal speakers in A Moment in Time grew up here: Irene Dea Collier, Jimmie Lee, Chuck Gee, Cecilia Wong, Amy Chung, Norman Fong. As children they associated Chinese movies (and the Chinese language) with their parents’ alien, backward world. Eventually they found their own reasons to appreciate Chinese film. The heartbeat of A Moment in Time is a series of clips from films that were hits in Chinatown. A Moment in Time shows how Chinese movie theaters could be both a battlefield between the generations and a profound affirmation of what it means to be Chinese American.