Index Page Replies to Initial Written Questions Raised by Finance
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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 -
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Journal of Arts & Humanities Sport Culture of Hong Kong: Recent Development and Prospects Eddie T. C. Lam, Ph.D.1 ABSTRACT Hong Kong is well-known for its beautiful natural harbor, vibrant nightlife, as well as tremendous entertainment and shopping opportunities. After 2008, people in world are more familiar with this city because its role in holding the Olympic Equestrian Events. Nevertheless, little is known beyond Hong Kong about its sport structure, development, and sustainability because of the limited research in these areas. The purpose of this paper is to illustrate the sport culture of Hong Kong, including the development and administration of sports and sporting events. Through literature review and an examination on the sport development and management mechanisms of Hong Kong, it was found that the following three main themes would guide the direction of future sports development: (a) promoting “Sports for All,” (b) fostering high performance sports, and (c) equipping Hong Kong to host international sports events. It is concluded that the Hong Kong Government plays an active role in funding and supporting the development of sports, which is also backed by the business sector in Hong Kong. Specifically, the Leisure and Cultural Services Department not only develops and manages a wide range of sports and recreational facilities for use by the general public, but it also supports and organizes sports and recreational programs that promote the long-term well-being of the residents in Hong Kong. Nevertheless, to explore open spaces for leisure purposes is a challenge for the Hong Kong Government, and the HK$19.7 billion Kai Tak Sports Complex under construction may provide a sound resolution to such demands. -
LC Paper No. CB(4)985/14-15(01)
LC Paper No. CB(4)985/14-15(01) Free TV licence of TVB renewed 1 / 2 Free TV licence of TVB renewed ****************************** The Government today (May 12) announced that the Chief Executive in Council has approved the application for renewal of the domestic free television programme service (free TV) licence of Television Broadcasts Limited (TVB) for a period of 12 years from December 1, 2015, to November 30, 2027. TVB has committed to a six-year investment plan of $6,336 million for 2016 to 2021, comprising $144 million of capital investment and $6,192 million of programming investment. It has also undertaken that each year at least 12,000 hours of the programmes on its service (representing about 27.4 per cent of its total programmes) will be local productions. "The licence conditions in the renewed licence of TVB are largely based on its existing licence, with additional requirements imposed to address public calls for improvements in its programming variety and quality," a spokesman for the Commerce and Economic Development Bureau said. TVB is required to provide an additional four hours per week of positive programmes in total on its digital channels, which are currently exempted from such a programming requirement. These include current affairs programmes, documentaries, arts and culture programmes and programmes for young persons. All must be first-run programmes with 60 minutes per week for each genre. "Furthermore, to respond to public aspirations and to facilitate the Government's policy of nurturing local talents, TVB has been required to provide on its licensed service independent local productions on an incremental basis from 20 hours per year in 2016 to 60 hours per year by 2020," the spokesman said. -
Hong Kong's Popular Entertainment 1. Introduction
Hong Kong’s Popular Entertainment 1. Introduction “Popular entertainment” can be defined as forms of entertainment that are accepted and enjoyed by most people in a society. Popular entertainment is intimately connected with people’s lives and forms part of their culture; its transformation reflects the changing times. Adhering to traditional customs and practice, the local Chinese had various traditional forms of entertainment, such as dragon dances, lion dances and outdoor Chinese opera, all of which were performed to celebrate the birthdays of deities. After the cession of Hong Kong to the British government in 1842, new and foreign forms of entertainment such as horseracing, football, movies and so on, reached its shores. In the beginning, such activities were partaken by Europeans and some Chinese, but they gradually became more widespread and eventually became part of the popular entertainment in Hong Kong. Hong Kong has seen many changes over the past 150 years⎯population increase, economic development, technological advancement, the transformation of its society and the growth of its commerce. In tandem with these changes is the evolution of Hong Kong’s popular entertainment, in terms of venues, programme content, games equipment, participation methods and so on. Several trends can be gleaned from observing these developments. Entertainment in Hong Kong is evolving from one that involves mass participation to one that engages the individual, and it is no longer something to be indulged in at one’s leisure but a consumer activity with commercial interests. In addition, tangible toys, which are played in real time and space, are being replaced by virtual games unfettered by physical constraints. -
Decision Submission
第 1 頁，共 6 頁 Decision Submission English Print Decision ID DE-0700110 Case ID H K-0700119 Disputed Domain Name www.hkjcmarksix.com Case Administrator Dennis CAI Submitted By Arthur Chang Participated Panelist Arthur Chang Date of Decision 04-06-2007 The Parties Information Claimant The Hong Kong Jockey Club Respondent xiaoyaohuiyuantuku (小幺会员图库) Procedural History The Complainant of this case is The Hong Kong Jockey Club Its address is at One Sports Road, Happy Valley, Hong Kong. Its authorized representative is Johnson Stokes & Master. The Respondent of this case is xiaoyaohuiyuantuku with addresses at changanjie 117 hao, Beijing, CHINA. The domain name in dispute is hkjcmarksix.com. The Registrar of the dispute domain name is OnlineNIC, Inc.. On March 21, 2007, the Complainant has submitted Complaint to the Hong Kong Office of the Asian Domain Name Dispute Resolution Centre (the “Centre”), in accordance with the Uniform Domain Name Dispute Resolution Policy (the “Policy”) adopted by the Internet Corporation for Assigned Names and Numbers (“ICANN”) on 26 August 1999, the Rules for Uniform Domain Name Dispute Resolution Policy Disputes (the “Rules”), and ADNDRC Supplemental Rules for Uniform Domain Name Dispute Resolution Policy Disputes (the “ADNDRC Supplemental Rules”) The Complainant has sought a one-person Panel. On March 27, 2007, the Centre has forwarded a request to OnlineNIC, Inc. to verify the registration information of disputed domain name and on March 28, 2007, OnlineNIC, Inc. confirmed with registrant details as shown above. On April 4, 2007, the Centre forwarded a copy to the Respondent by on-line notification. The 20 day deadline for the Respondent to respond calculated from April 4, 2007 expired and the Respondent did not file a Response with the Centre, as confirmed by the Centre.