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ಋᖚ୺ he Hong Kong Arts Festival is a prominent ࠗຝ̯ܰ Tarts event in the cultural calendar of Hong Δʥԓʪਂ Kong and the Asia Pacific region. Proudly ؿʼʝଞ stepping into its 33rd year, the Festival ಳም continues its vigorous pursuit of innovativeסԑe ɃɍɊɍ՚ development; the presentation of new works αc˚ፒዀ and the provision of quality arts. ೸ٻ࿚ᆅʘুұ௚ณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚ୺ຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔΃Ρ of inspiring art, music and cultural ੓Ԟਝ჌Ίࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓ࿫ˮc๫ผ˥ࠗಋ஛ artists and leading local talents. I am sure that ਝ჌ʼʝ஭ผࠛ૚ቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚ୺ࡼ਄ၤܰωଞٴᔑϊᚭ ఻d I extend our warmest welcome to all؀ผcԎूࣵʑ̔ᜮଠʶ̈́ သጙϤᓊe participating artists and wish all local and overseas members of the audience a most enjoyable time. ւٽܧϷਂܧࠗಋऋПϷ TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region ˚࢐ᘆᖽ Message from the Chairman .਄ၤ଱ɍɊɍ։ࠗಋᖚ୺ warmly welcome you to the 33rd Arts Festivalٴ ᚭ ຝc஛ܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝ჌՗ԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ୺၀ߜc˞ʥ̯Δ௚෮ݗึؿᖚ Festival presents the finest international andਂ ୺ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶ෰ᑢ஦༦੖ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ৛֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚ୺ຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚ୺ຝྦྷֺτᖳХዀ࿚d Club Charities Trust. Their long and continued ᖚ୺྆᛽˞ʥ࠯Ɂ༅Хc͛ߎ˞টʶ patronage are what make these cultural ᑢ෮e presentations possible. In addition, we gratefully acknowledge the ,ȹΣ˞֡cࠗಋᖚ୺ຝ஦༦˸ძነ́ generous support of many corporate sponsors .ʭαɾʤི߮cߎɈ arts institutions and individualsڇ଩᎚య˞ʥ ར᎞ነ́ʥαႦᜮଠઅᘩΈᗘᖚ୺e ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥ࠯Ɂ༅ The Festival has always made our programmes Хcɻነʥɣነነ́ɖʦᎶᆅईe accessible to students and young audiences through half-price student tickets and our Young 2005αࠗಋᖚ୺ຝຝ͌ᔔఒd˳ᖓ Friends Scheme. These schemes are funded by the ΋ɺ΃ᜮଠؿ௩ΡʥɟՈc generous donations from numerous corporateٴຒτc .փe and individual donorsڻϢ̢ c౨શၤ੬Ε The 2005 Festival offers a rich and stimulatingܛω෰ᑢჇɎؿʻʹ 2005αࠗಋᖚ୺ຝɻӮࠍe programme, with a variety of captivating performances and choices, presenting a diverse range of tastes with artistic excellence. We hope to offer something enjoyable and of interest to everyone. Above all, I would like to thank you, our patrons, for your support and participation in the 2005 Festival. ңพᄤ Charles Lee :ࠗಋᖚ୺ຝؿ༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of Ϸܧᐢဟᘆᖽ Message from the Executive Director 005αࠗಋᖚ୺ຝؿຝ͌˞ he starting point for the programming of this 2005 ݯ˚ᕀeु T Festival was the idea of contrasting opposites – ‘sacredڙ˖2ुັၤ ஛ԭඖʏॖc஭ܰΈိ and profane’. Both of these elements are rich sources ofڙ˖dັ ᖚ୺Ѽβؿ੒Ӯᕀҥၤ᜙෰ݖ creative impulses for the performing arts in most cultures ฻cʌ։ຝ͌గऋПॶਪʦܮ஛ and this thematic link is evident in much of our ᗐ programming. We hope these connections and contrastsޚܫ࠯෮֨e҈ࠨѴશ஛ԭඖ Ɍྦྷ͓ؿʏॖcॶݯɣࡼొԜҡ will make your Festival experience more engaging and .৽Ɂdҡᗒѿؿᜮሌ᛽᛻e memorable ࿘۾৖ȿࣵ̔ᖚ୺ɮАّc҈ࠨ Alongside all of our international artists, we are proud to ॶᑼᇼ̯Δ࿫ᖚ၀ߜcΣࠗಋ֗ present many outstanding Hong Kong artists. For example, ဳ֞ᅥ྆dࠗಋ໷ჱ྆d̯Δ௑ ˮαႦ፡ೄ࿫ۗࡼਜ਼ᆼ౟d૜ࠓ the Hong Kong Philharmonic Orchestra and the Hong Ⴛဳʄࠇۗᘆᖚeԯˢ਄ၤ࿫ˮ Kong Repertory Theatre, as well as the fine young Hong ຣჱΊД૆ Kong musicians, pianist Rachel Cheung and the Fresh Airܢ˳ؿ̯Δ࿫ᖚ၀ߜ ு໱ʥң᎘d7AऒᎻჱୂdɻߜ Brass Quintet. Other important Hong Kong artists taking ɩմdࠗಋ part include Cantonese opera stars Mui Suet-see and Leeټܖჱ྆d89268d ϐcᑹτ΋Ɉݵႇ Lung; Class 7A Drama Group; Chung Ying Theatre; Groupܬᇁၦࡼฦ лؿྡྷɈݢୂ΋ ңᔪ 89268; the Material Girls; choreographer Daniel Yeungؒ ,ݘdષഥࠦdңɻͲʥ୥૆֍e and the remarkable combined talents of Lee Chun-chow Faye Leong, Gabriel Lee and Chong Mui-ngam in The ᖚ୺ຝᘗᙩዶรկ޸̯Δၤࣵ̔ French Kiss. ܢ˳ˮϳؿ௚АɁc̯։ณА In addition, our commitment to commissioning new work קdէᚗdʌէ࿨ၦރು ਝ჌࠭ᅥ஫dཫ҈ from Hong Kong and around the world continues, withټܖd̡ dؒлd׭ pieces such as Amber, The Nightingale, All That Shanghai̟ے஛ᅚؿȹ࠯ ˚τ௩ʥɩ˔ɥనʊতe Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. 2005αࠗಋᖚ୺ຝݯᜮଠᘆɐȹ ࿫྆᛽ٲϛɀɊ̒௿࿫ˮc਄ၤ The 2005 Festival will offer a total of 124 performances ༠̒Ɋɀ࠯˳ܢɍɊɀ࠯ࣵ̔ with 42 performing groups (32 overseas and 10 local), two ʥɊ࠯̯Δ྆᛽cᑹτԭ࠯ࢄ ,ᙴc˞ʥɺࢀ፟༦ؿᖚ୺ຝ˱ࢿ exhibitions and our Festival Plus programme of talks ຝ͌iᑟ࢔d࢔ᇹผʥᖚɁᇹe seminars and meet-the-artist sessions. ΛۜcࠓࣟΛʏ This is one of our largest Festivals to date, in terms of theٻ։ຝ͌Λ̯ ʝcܰࠗಋዃԞஃᅡ௖ɣd௖˥ number and the diversity of programmes. I am sure too, Ɂሌʶࢧ͌d௖Ԯઢೕֲؿᖚ୺ that it will be one of our most enjoyable and inspiring. We .਄ၤe are delighted that you could join usيຝɾȹc෰ᑢჇɎ׊ ঢ়ᄨᓤ Douglas Gautier 24 Material Girls 5 ޸1ɩࣂ10ʗᘸcٽ࿫ˮ ɺஉɻ௿ͤࢠ Running time: approximately 1 hour and 10 minutes with no interval ࠗಋɣผਦࠑᅥᜨ Concert Hall, Hong Kong City Hall, Performing Arts 8 - 9.3.2005 ࠗಋᖚ୺ຝկ޸ Commissioned by the Hong Kong Arts Festival ᗐઌʹ፜dಲᇃཋ໷ʥඨՓዀؿᚊባ໦کݯȿᜑɣࡼྦྷ஛ω࿫ˮजɎ޻ΡͿോcᇼʘতΕຝ͌඀௿ ສeผ௿ʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕ՗мํcΛᑢ΋Аk To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your ALARM WATCHES, MOBILE PHONES and PAGERS. Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your cooperation. 8 ႇАʥ࿫ˮ Credit List ࿫ˮ ˔ɩմஹݿձdңဲᄐþ˿ᅥټܖ ႇАɁࡗ þɁɬɁࣵעࠑᅥผᐢဟ ඡᘚ ਨϷဟႇ ʿᗸშ ኒ࿫þၦ̎ʥ዗ͮஉ߮ ᎘౺ϑ ై྇௚А ˿ᅥ˔ Ҍ୺ᐢဟ ңᅳޔ* Хଉၦ̎຤ଉ ષਝᐊ ၦ̎Хଉ ፳ኹ࿘ ཋ຾ࠑᅥೡβ Єɬ ፣ཫҌ୺ࡗ Еߜሑ (ӻdஹ݇ͮ (Eye Cut Studioە፣ཫ ჳ ࠑᚊɮೡ ޻ˡऋޫҌτࠉʔ̇ ໦ Pinky ChenþKin & Lennonר ɩմ Derrick Ng of Chin.Gټܖێቡ ʝїңဲᄐ Chris Chau ஹݿձ ஹݿձ ؀þ઴ᅥغࠑᅥผХଉ ңᗫࢀþχз ᅥඅιࡗ ࠑᅥᐢဟþᒄೄ ңဲᄐ ೶ˢ ࢘ɝӞ ᒄೄþɩ໔ ષҁι Гࠑ΁ˢ ңዉ̵ ར ඡ৩ቺ ၬࠗಋ٢ᑂၦ྆ғ࠿਄ၤႇАֻ * ႇАʥ࿫ˮ Credit List 9 Performers Material Girls (Sandee Chan and Veronica Lee) and Cola King Production Team Producers Anthony Wong People Mountain People Sea Executive Producer Sandy Fong Director / Stage and Edwin Lung Lighting Designer Illustrator Cola King Technical Director Lina Lee* Assistant Stage Manager Leung Kwok-hei Stage Hand Fok Shu-wing Music Programmer Ho Shan Video Technician Yue Ying-yin Video Liu Yi Chen and Chen Po-kuang (of Eye Cut Studio) Sound System Miso Tech Company Ltd Costumes Pinky Chen and Kin & Lennon Hair Stylist Derrick Ng of Chin.G Make Up (Veronica Lee) Chris Chau (Sandee Chen) Sandee Chen Assistant Wincy Lee, Chu Kwan-yuet and Winnie Cho Band Members Music Director / Keyboard Veronica Lee Guitar Hsu Chien-hsiu Keyboard / Trumpet Leung Chi-shing Bass Leonard Lee Drums Stephane S Wong * By kind permission of Hong Kong Ballet ֺτై྇ All illustration © Cola King ς͌ Song List 11 ɩை઄ʷςiஹ ݿձ ɩմټ ܖᗫᚉᚉςiؐ ɩմټ ܖɁ́࿨˔ςi ɩմټ ܖȹ࢔ɝαؿѝ၀ࣁ֙ςi ɩմټ ܖԅ෰ᘨܰ෬ࠓςi ᄘ೽஛࠯Ɏʟςiஹ ݿձ ૜઱ࠑᅥςiஹ ݿձ ҄ᅥɁ́ςiң ဲᄐ ȹိᓯ௰ؿሣ๕ςiң ဲᄐ ˀςiஹ ݿձ̱ވ˖Էق ɩմټ ܖ՚̱ᄂˋϑᔪᅘ஫අɾ࿨ςi ɩմټܖࡐࡐհհϛஒʔ̇ςi ԅαࡧʨྟ፷ؿࣵςiஹ ݿձ ᒨഀ࡝ςiஹ ݿձ ᝍ࿨ςiң ဲᄐܬڇႩؿ̷ ɩմټ ܖςiܬᅢ̽ ᇦᛞ٦ςiң ဲᄐ ɩմټ ܖЍ˦༝ςi ਝ჌࠭ᅥ஫ਈਈඅɾ࿨ʪඈӡਿ͂ςiң ဲᄐټܖ ਈͲαಲͤςiң ဲᄐۄ ඣњ৛ɥςiң ဲᄐ Ͳ஫࿨ീi˿ᅥ˔ ࿨ീ࿨ീ Lyrics 13 ɩை઄ʷ ːڋؿϸႂτȼ੟҈ ؿ፾ɐτȹ࠯Ϳ٦҈ ๫ɾᕡК ҈ؿɟ޴൚ज़ɣ޴ޚؿ፾ቡ҈ ஻፮۾ዀӹ ҈ؿʹݒ۾ؿ࠯ֲ҈ ҈ȹˮʹ࿶ɟᛐ໷ ைࠨ႓҈ʪཫɁᗘ ɩை઄ʷ ɩை઄ʷ ɩைؿΊΥ̉઄ʷ઄ʷ ɩை઄ʷ ɩை઄ʷ ɩைؿΊΥ̉઄ʷ઄ʷ ᗫᚉᚉؐ ȹᒛ෋෋ؿΔଈܰވ˖ ᗫᚉᚉ ؐᗫᚉᚉؐ ᗫᚉᚉ ؐᗫᚉᚉ ҈ࠨؿ຾஁ɖܰ෋෋ؿΔଈؐ ᗫᚉᚉ ؐᗫᚉᚉ ଡकɖܰ෋෋ؿΔଈؐ ιࢪ፾ɖܰ෋෋ؿΔଈోܞʹ ᗫᚉᚉ ؐᗫᚉᚉؐ ᗫᚉᚉ ؐᗫᚉᚉ ɤ́ؿॳ஫ɖܰ෋෋ؿΔଈؐ ᗫᚉᚉ ؐᗫᚉᚉ Ә́ؿѬٖɖܰ෋෋ؿΔଈؐ Ɂ́࿨˔ గሢΕ዇ޕ㛾ࠍ਎࿨ గሢΕ዇ޕ㛾ࠍ਎࿨ ɣᐰ۾ᙡ Ўܰ߬਎੡۾ᒖಳ਎੡ గሢΕ዇ޕ㛾ࠍ਎࿨ గሢΕ዇ޕ㛾ࠍ਎࿨ ૽۾ᙡ Ў҈ɖ߬਎੡۾ᒖಳ਎੡ ਈਈਈਈਈmm߬਎ιȹ࠯Ɂ́࿨˔ ਈਈਈਈਈmm߬਎ιȹ࠯Ɂ́࿨˔ ȹ࢔ɝαؿѝ၀ࣁ֙ Ɏᙜ٦ኹɎؿպي༤Ӯܱ҈ ༤ӮɊȹ˂ᙜ٦ኹɎؿպ҈ एѝ၀ ྦྷ֌Χքصӡᘄ㛈 ᚹˋݚᐰᛷଊܱ ɊȹɁ ԅ෰ᘨܰ෬ࠓ ԅ෰ᘨܰ෬ࠓ Ɋȼัؿຝ׏ ૗૗ؿͮᄧ ܰଏଏؿጅ׮ ˅ʶѼؿ׮࠽ཫѳ୺ؿᚓؒ Ґࣂං஭ቷ ޜպۦጱෲؿɤ ؿ݇ؖ༏ ᕉɣɣԃబؿፅ܃چԅ෰ᘨܰ෬ࠓ ࡧˀ ؿ̜ɣ׮࠽̠Ȼرؿ਻ྞਝ ᑹτࣵஎѼܬڇٯ຤༦Ϣ يؿɐ̟ے࿴ࣺΕ ԅ෰ᘨܰ෬ࠓ ൚ෲБؿ҈ גȹိ̷܏ؿኟ˞ ̋߬ޜ㠥Бmm 14 ࿨ീ࿨ീ Lyrics ᄘ೽஛࠯Ɏʟ ᗂࠍ ҈඀ӹ੣ႩʿԞҒպޮ̨ˋچ ፚΕպαႦؿѷɐ ѷܰ٧ٟࣩՈؿࣵݗ ː㛐ޚᚭॐӶ༦ɀɊัؿҳᚯ պޮ҈঺Бؿ؈ϸ Ε τॐᐰ Ⴆᅁ Ε॑޴ϳؿָං㛾ࠍ ᔝтᔝтѽ֣ཋࢩ τ٦ יτᐰࠑΕɎࠌ τ٦၁ τ٦ࠔ౔ ЎԅԒമʲ ЎԅԒമʲᒷਜ਼ ̚ɺᒾΔɺᒾΔᒷਜ਼ᒷਜ਼ᒷਜ਼ ૜઱ࠑᅥ ʪඈܰң౜ऋؿʪඈ ɩைܰັࣚؿɩை ೥ܰᒚᄨဍͱ́ؿ೥ ᘸܰᄨ̠Ϲؿᘸ ညܰജࣟढ़ͱ́ؿည ேܰഒਅؿே ࠓࢩ͉ܰፗɡؿࠓࢩ ͱ́ؿ٦ۄ٦ܰʱ ๫҈ΕᚹϹӴݚɡؿࣂ࠰ τȹ࠯ɤ́Εᚹ͢Ԡؿฎ࿬ᅥ ϊԳኹܰฎᒻᅥؿኹ ҄ᅥɁ́ Ρཫဣϋ ಳ܃ɻʟ঴ѷᛢʪඈ યɐɐৈᎂ௦ৈ̨Ѭ ݯ҄ᅥɁ́ܰ ਈਈਈmm҄ᅥɁ́ ਈਈਈmm҄ᅥؿɁ́ ȹိᓯ௰ؿሣ๕ గ஛ᅚሢ㠥 ਜ਼඀҈ؿॳᇏ ӵႆؿˀɥ ਜ਼඀҈ؿॳᇏ ɩؿ෱ؒ۾ፚԞ ሢ㠥 ȹ࠯܃ɾ Ͳ˖ވ̋ᑫɎ҈ࠨԭ࠯Ɂ պࠝΕ୽ጮɾɐᆃဣ รτ˿ॶྒӮʇფؿჽӯॐȿȹɎ ࿨ീ࿨ീ Lyrics 15 ˀ̱ވ˖Էق ޜ҈බΣ वϜ ޜБ̍Ώࠓඔ ಄኉ ʨਦɰ࿶͌ᆖଚې࠻֚ᒾ ՜༜ಲੱכҰȹ௿ෲੱ೶ѫ า ๑ඨթٵԞؿɝᆖϛʬ িͮ܃ ɖஈ̟ܰࣵໝᅢ ɖஈܰ؞ᄧʲྒ Ɂංؿ˦ྊ ᔴ ϤʌɖϛᔝɝΑ Ϭ҈ؿ๐တچϤʌɖܱౙ ༦ ҈ෲ༦ ஛Ԓෲੱؿ࿨܍҈ Ԟ༦҈ ҈כ༦ ҈ෲ༦ ஛Ԓෲੱؿ࿨ ᙔ܍҈ Ԟ༦҈ ޜ҈බΣवϜ ޜБ̍Ώࠓඔ ՜༜ಲੱכҰȹ௿ෲੱ೶ѫ า ɖஈܰࣵ႑ɬ๷ ɖஈܰࣵܽ͏ᙡ Ɂංؿ˦ྊ ᔴ ϤʌɖϛᔝɝΑ Ϭ҈ؿ๐တچϤʌɖܱౙ ༦ ҈ෲ༦ ஛Ԓෲੱؿ࿨܍҈ Ԟ༦҈ ҈כ༦ ҈ෲ༦ ஛Ԓෲੱؿ࿨ ᙔ܍҈ Ԟ༦҈ ༦ ҈ෲ༦ ஛Ԓෲੱؿ࿨܍҈ Ԟ༦҈ ҈כ༦ ҈ෲ༦ ஛Ԓෲੱؿ࿨ ᙔ܍҈ Ԟ༦҈ ՚̱ᄂˋϑᔪᅘ஫අɾ࿨ ќؿɁᗘ۾ ผ ϛಲ୎ፆߕࣵಲᖾم஛ޜБ Бޜ஛ਝࡼ ɁɬɁࣵӫԶΕ߇ గ҄߬า฾ ȹ঴ɐ Ρ˚෮ ૎૎ ୛ Ͳ஫໬Һيሒਝ̗ ʪ ਍ۄ ሒɈ ਈਈ۾ М۟۟ ވ˖Ͳיჼ ҈߬໬ ჼ ฎ࿏п௥ܰሂ ჼ ৈбၺ໖ᇥᇦ Ӛჱ ˚ࡺȿȹʘٓ ผمჼ ஛ܰሂؿ ჼ ਝ˔ᅓɁܰሂ ჼ νΑБؿРҺ ਈਈਈ ਈਈਈ਍ ผ ʄ੟ᏬᏬᅘ༐Σཊ ೸ќؿɁᗘم஛ޜБ ஛ਝࡼ ดಎஹ࠸࿶຾ືٓ గ҄߬า฾ޜБ Ρ၇ਜ਼ ΡԶው ૎૎ ҈ᘅˌ Бक़૜ ཙ˞Ϣࢪ ਍ۄ ΦΕ Бʻ৉ ਈਈ҈ ჼ Χքᛰʝຒɝ ჼ ˒ৠ୰ुܰሂ ჼ ˚ຮʻᔴव຅ Ϊ፷ᒨ ᚹ҈ؿࠑᅥ ჼ Δࠍ඀նʠঢ় ჼ ࣵˋ඀նࠧঽ ჼ ʌ౩τৈʌ౩ሶ ஛గܰ ҈ؿАݯ 16 ࿨ീ࿨ീ Lyrics ࡐࡐհհϛஒʔ̇ ࠓʄʏ ݚˋȼʏ ํˌȹʏڲ ஻ɍʏͮ ˉɄɊʏ๫ʄʏ׊ Ұωȹ ᛮᇟ೻ი̒ʏ ૓ํଝʒʏ ଏଏਜȾʏ ౲̷˒̘ȹʏ ࠓʄʏ ʄɊʏ๫Ʉʏ׊ Ұωɍӯڲ ஻ɍʏͮ ॐ㠥ؿͮ፾ؿᚼ߫ۄۄ ؿ͵౵ۦ㠥˃ࢅؿɩה ᔘᔘ༐༐ؿӘ́ؿཋ৽ ซȹซ፾ؿɤ́ؿ؈໦ ض˾ʨႢ҄҄Ԟע ʌʨႢ҄҄˾ဣᘨ հհࡐࡐዖიؖૈ ࡐࡐհհؿϛஒʔ̇ ԅαࡧʨྟ፷ؿࣵ ɺ຤෮Ꮒ٘Ϥ༦ؿᐻ ̟ے ˀ੒ؿ́ݠɻ૗૗ؿܺȹʨ ৤˅Փм ְᕝȿȹʘ ፘѿؿԅࡧˀྟ፷ࣵᖾ҈ ᇂ αʭࣂʪႦӔഽց߬ܰา฾ۥ஧ޚˋ՜ؿࣂԳ ഗ́ ԅᙜ٦ʪ޻ ᔝଡࣱ̖ɺӮ ͨንБ෵Ԟ෵Ⴉ ՜༜ܰޭˋ ็ࣵၤࣚ̈́ Ɂ́గཫܰ ʨɐࡾᔳ મ ᜑํ٦তՅ ܱˌᏬᙡؿɁංٽ૯ᔧؿႺ، ຒ̀ၤ ᇂ αʭࣂʪႦӔഽց߬ܰา฾ۥ஧ޚˋ՜ؿࣂԳ㛾ഗ́ ஶɐଡ๸ ְѿȿȹʘ ͨንБ෵Ԟ෵Ⴉ҈ ՜༜ܰޭˋ ็ࣵၤࣚ̈́ Ɂ́గཫܰ ʨɐࡾᔳ তՅ ֡ԑΣํؿܲʨܬڇમ ᜑٽ૯ᔧؿႺ، ຒ̀ၤ ᒨഀ࡝ ேټງቔԭ৙ڇᐢᘨ੡Бܰ࠯ᑜ ਻ྞΕ ୥́ኮྒޮ̀ ʌ ҈ܬˀཱཱུུಲʶ ᔶɁ඀ӹԷಙʶ Ρࠓͮᇹॐಲ౨ Λფ ᄘ෮ے࣠ኹʝАɝ࠯Б ݯБඪਝඪ ڇڇ޻ᗫɩ،ᕝഎࣩ ᒨ၈ι੟ᒘၤ،४ ɢඈࠋɐೋᅢх ᇼҐ҈ᔧΕ Бؿ ؿుʶ ૫ଡಲ߮ኹฎܮ ঒ധɺ໬ϸɐඔ ʌɢЄɢ ͨ̚ےʝАຒ࠯Б ݯБඪਝඪܱܱ ɐʶ፾൙়ᔴڳ ைҵࣺϐɬᄧڇ Λფ ፿ᗕےϳඈ̳ͮജᗫ ݯБඪਝඪټ ࿨ീ࿨ീ Lyrics 17 ᝍ࿨ܬڇ Ɍܰȹ࠯
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  • Tje WESTFIELD LEADER • Mo Tor* Serving Westfield Since 1890 JO3 00 C O LSPS 6I02Q .NINETY-EK-'S G ..I, NO

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    TjE WESTFIELD LEADER • mo tor* Serving Westfield Since 1890 JO3 00 c o LSPS 6I02Q .NINETY-EK-'S g ..I, NO. 39 Saond Oui Pouw Paid WESTFIELD, NEW JERSEY, THURSDAY, APRIL 21, 1988 Published g •1 W«ir*id. H.J. Every Thursday 24 Pages—30 Cents O > ... i of Education Straw Poll Boarder Situations Emerge Support Proposed Expense Cuts At Zoning Board Meeting J! A straw poll .e >>y tin Board council actions, Board President school Principals, Samuel Hazetl Three applications dealing issued. The appeal of Walter and Susan of Education a. is 1 uesday night Susan Pepper congratulated all and Eugene Voll, Dr. Smith with boarders and other unique Richard Knapp, one of the Brand, owners of 204-206 Lenox regular meeting supported pro- who had worked on trimming the outlined a plan for the team occupancy situations in West- three applicants testified that he Ave., faced boarder-related dif- posed budget alterations current- budget. "The town should be pro- teaching that would buffer the field, came before the Board of felt the re-zoning of the house to ficulties with their application for ly being considered by the Town ud," she said, "that both the sixth graders' entry to the middle Adjustment at Monday evening's two-family would upgrade the permission to use a three story Council. Council is required to council and the board are work- school. meeting. present status of the home. He building as what the board reduce the 1968-89 school budget ing together for the benefit of Rather than have this group in testified that he or one of the described as a "residential town and schools." The carried over appeal of as a result of its defeat in the the established departmentalized Simcox, Knapp and Kaczmarek, other owners would occupy the hotel." April 5 election.
  • Special Issue Taiwan and Ireland In

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    TAIWAN IN COMPARATIVE PERSPECTIVE Taiwan in Comparative Perspective is the first scholarly journal based outside Taiwan to contextualize processes of modernization and globalization through interdisciplinary studies of significant issues that use Taiwan as a point of comparison. The primary aim of the Journal is to promote grounded, critical, and contextualized analysis in English of economic, political, societal, and environmental change from a cultural perspective, while locating modern Taiwan in its Asian and global contexts. The history and position of Taiwan make it a particularly interesting location from which to examine the dynamics and interactions of our globalizing world. In addition, the Journal seeks to use the study of Taiwan as a fulcrum for discussing theoretical and methodological questions pertinent not only to the study of Taiwan but to the study of cultures and societies more generally. Thereby the rationale of Taiwan in Comparative Perspective is to act as a forum and catalyst for the development of new theoretical and methodological perspectives generated via critical scrutiny of the particular experience of Taiwan in an increasingly unstable and fragmented world. Editor-in-chief Stephan Feuchtwang (London School of Economics, UK) Editor Fang-Long Shih (London School of Economics, UK) Managing Editor R.E. Bartholomew (LSE Taiwan Research Programme) Editorial Board Chris Berry (Film and Television Studies, Goldsmiths College, UK) Hsin-Huang Michael Hsiao (Sociology and Civil Society, Academia Sinica, Taiwan) Sung-sheng Yvonne Chang (Comparative Literature, University of Texas, USA) Kent Deng (Economic History, London School of Economics, UK) Bernhard Fuehrer (Sinology and Philosophy, School of Oriental and African Studies, UK) Mark Harrison (Asian Languages and Studies, University of Tasmania, Australia) Bob Jessop (Political Sociology, Lancaster University, UK) Paul R.
  • The Diminishing Power and Democracy of Hong Kong: an Analysis of Hong Kong's Umbrella Movement and the Anti-Extradition Law Amendment Bill Movement

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    Portland State University PDXScholar University Honors Theses University Honors College Summer 2021 The Diminishing Power and Democracy of Hong Kong: An Analysis of Hong Kong's Umbrella Movement and the Anti-Extradition Law Amendment Bill Movement Xiao Lin Kuang Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Part of the Asian Studies Commons, and the Other International and Area Studies Commons Let us know how access to this document benefits ou.y Recommended Citation Kuang, Xiao Lin, "The Diminishing Power and Democracy of Hong Kong: An Analysis of Hong Kong's Umbrella Movement and the Anti-Extradition Law Amendment Bill Movement" (2021). University Honors Theses. Paper 1126. https://doi.org/10.15760/honors.1157 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. The diminishing power and democracy of Hong Kong: an analysis of Hong Kong’s Umbrella Movement and the Anti-extradition Law Amendment Bill Movement by Xiao Lin Kuang An undergraduate honors thesis submitted in partial fulfillment of the Requirements for the degree of Bachelor of Arts In University Honors And International Development Studies And Chinese Thesis Adviser Maureen Hickey Portland State University 2021 The diminishing power and democracy of Hong Kong Kuang 1 Abstract The future of Hong Kong – one of the most valuable economic port cities in the world – has been a key political issue since the Opium Wars (1839—1860).
  • 7015 B Program P.Indd

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    From the Queen to the Chief Executive: May 4–6 Hong Kong Films 2007 10 Years After the Handover 香港電影縱橫﹕ 展與談 1 I am absolutely thrilled to welcome you to our fi rst Hong Kong fi lm Schedule at a glance festival, From the Queen to the Chief Executive: Hong Kong Films Ten Years After the Handover. This important event fi rst and foremost celebrates the friday, may 4 2:30 pm–4:15 pm achievements of Hong Kong fi lm and its impact on a new and ever- Banana Bruises; Royal Ontario Museum changing global culture. From the Queen to the Chief Executive also provides Dumplings Theatre, 100 Queen’s Park a forum to contemplate developments on Hong Kong since its historic 4:15 pm–5:15 pm 6:15 pm–7:15 pm return to China in 1997. Film is a lens through which to understand the Horror Panel VIP Reception dynamics of a changing society and the world around it. Film provides 5:15 pm–6:30 pm Royal Ontario Museum – an important platform, a medium, for telling peoples’ stories. In this Dinner Break Glass Room on the respect, fi lm is both critical and celebratory, it challenges and re- 4th Floor 6:30 pm–8:35 pm affi rms. Its impact is political, social, economic, cultural and often Venues 7:00 pm Eastbound; Welcome leaves legacies of historical import. Doors Open Lost in Time to the First 7:30 pm–7:40 pm 8:35 pm–9:00 pm The Asian Institute is an inter-disciplinary home to scholars working iiX iiX iiX iiX Break Waddg Waddg Welcoming Remarks University on Asia, comprising leading scholars in the humanities and social VkZcjZgY YZdch]^gZea 7:40 pm–9:30 pm 9:00 pm–11:00 pm sciences.
  • IFFAM 2943 – East & West Masterpieces on the Big Screen

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    SUPPLEMENT THU 07.12.2017 SHOWING INSIDE Crossfire Special Presentation Flying Daggers FAQs II Int’l Film Festival EAST & WEST MASTERPIECES ON THE BIG SCREEN he Crossfire feature of the IFFAM, described by organizers as a “retrospective” element of the festival, will showcase six master films selected by renowned filmmakers. From the black and white motion pictures of the 1940s to Kubrick’s sci-fi masterpiece “2001: Space Odyssey” of the 60s and the psychological thriller “Silence of the Lambs”, the genre films hail from THollywood and Asia, the latter represented with seminal works from Kurosawa, Johnnie To and Derek Yee. International Film Festival & Awards Macao CROSSFIRE: A RETROSPECTIVE OF CINEMA FROM KUBRICK TO KUROSAWA The Crossfire feature of the IFFAM will showcase six master films selected by renowned filmmakers. The pictures will be shown on the big screen at The Cinematheque Passion, from December 8 to 12 ONE NITE IN MONGKOK Mongkok, Hong Kong: a densely populated hot- KIND HEARTS AND CORONETS MAD DETECTIVE bed of criminal activity. Mainland Chinese farm Hotshot Inspector Ho seeks out his former boss Bun boy Lai Fu is a hired killer who enters the neon-lit English actors Dennis Price and Sir Alec Guinness underbelly of this infamous district. When he res- star in this 1949 black comedy. Price plays the for help in cracking a serial murder case. Bun, a gifted criminal profiler, went mad years ago and now lives cues a call girl from gangsters, the two must go lead role of Louis d’Ascoyne Mazzini, ninth in line on the run from policemen and triads alike.
  • Day 1 001 Ad Cover.Indd

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    MONDAY, MARCH 24 2014 DAY 1 AT FILMART www.ScreenDaily.com Editorial +852 2582 8959 Advertising +852 2582 8958 fatal_encounter-ad_245x266_fin_전달용 1 2014.3.14 5:41:12 PM MONDAY, MARCH 24 2014 TODAY DAY 1 AT FILMART Hot titles: Korea, page 16 www.ScreenDaily.com Editorial +852 2582 8959 Advertising +852 2582 8958 NEWS Pan-Asia Academy expands Hong Kong, Busan and Toyko outline Academy plans » Page 4 Desen teams with Weta REVIEWS The Midnight After Fruit Chan’s opening night film proves a quirky apocalyptic horror on 3D epic Zhong Kui » Page 10 Jamie Marks Is Dead BY LIZ SHACKLETON Weta Workshop is providing FEATURE China’s Desen International Media character and scenery design for Hot titles Celluloid Dreams has brought on board top VFX the fi lm, while its sister company Screen profiles Korean cinema houses including Peter Jackson’s Park Road Post works on compos- highlights acquires Jamie Weta Workshop for $27m 3D fan- iting. The film is one of the first » Page 16 tasy adventure Zhong Kui: Snow Chinese films to use full perfor- Marks Is Dead Girl And The Dark Crystal. mance capture, which will be han- SCREENINGS Acclaimed Hong Kong DoP dled by leading Korean VFX house » Page 19 BY JEAN NOH Peter Pau is serving as producer, Li Bingbing Macrograph (Journey To The West: France’s Celluloid Dreams has DoP and VFX director on the fi lm, Conquering The Demons). picked up international rights on which is currently shooting in stereographer Vincent E Toto Other behind-the-scenes talent Sundance competitor Jamie Marks China with Chen Kun, Li Bingbing, (Dredd).
  • Planned Intake of Non-JUPAS Post-Secondary Institutions for the 2014/15 Academic Year

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    Planned Intake of Non-JUPAS Post-secondary Institutions for the 2014/15 Academic Year Planned intake # Institution (as at 30.11.2013) Sub-degree Degree Caritas Bianchi College of Careers 290 - Caritas Institute of Higher Education 340 660 Centennial College - 320 Chu Hai College of Higher Education - 795 Community College of City University 3 500* - Hang Seng Management College 140 801 HKU SPACE Community College Not yet available - HKU SPACE Po Leung Kuk Community College Not yet available - Hong Kong Adventist College 40 - Hong Kong Art School (a division of Hong Kong Arts Centre) Not yet available 65 Hong Kong Baptist University 200 - Hong Kong Baptist University – College of International Education 1 700 - Hong Kong Baptist University – School of Continuing Education - 120 Hong Kong Buddhist College 300 - Hong Kong College of Technology 1 040 - Hong Kong Institute of Technology 300 250 Hong Kong Shue Yan University - 1 323 Lingnan University – The Community College at Lingnan University 800* - Lingnan University – Lingnan Institute of Further Education 1 200* - Pui Ching Academy 260 - SCAD Foundation (Hong Kong) Limited/Savannah College of Art and Design, - 225 Inc The Chinese University of Hong Kong – School of Continuing and Professional 1 450 - Studies The Hong Kong Academy for Performing Arts - 161 The Hong Kong Institute of Education Not yet available Not yet available The Hong Kong Polytechnic University – Hong Kong Community College 4 000* - The Open University of Hong Kong Not yet available Not yet available The Open University of Hong Kong – Li Ka Shing Institute of Professional and 595 70 Continuing Education The University of Hong Kong School of Professional and Continuing Education - 130 Tung Wah College 200 710 Vocational Training Council 13 070 660 Yew Chung Community College 420 - YMCA College of Careers 90 - # Figures are provided by institutions.
  • 3. 10 SHANTY � Mencari Cinta Sejati (4:05) 4

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  • Cantopop Songs of All Time!

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    THE GREATEST CANTOPOP SONGS OF ALL TIME! Forty years ago, Hong Kong saw the birth of Cantopop, a style of music which would become one of the city’s most iconic cultural offerings. To mark its 40th anniversary, Arthur Tam looks back over the history of the equally loved and derided genre – and explores its evolution and importance through its most beloved songs, one year at a time… 30 timeout.com.hk The early years The Fatal Irony <<啼笑姻緣>> Sandra Lang (仙杜拉) In 1974, during the boom of HK media, 1975 a theme song to a popular drama, << The Fatal Irony <<啼笑姻緣>>, would change everything. It became a massive hit, arguably becoming the 獅 first ever Cantopop song, and starting 子 the procession of not only theme tunes 山 1974 to every TV drama, but a new music 下 genre itself. It retains a resemblance >> to traditional Chinese harmonies and melodies, but enters a new world of pop. bit.ly/fatalirony1974 The first Cantopop songstress Sandra Lang The Chinese-American singer of arguably the first ever Cantopop hit, Fatal Irony <<啼笑姻緣>>, reflects on that song, four decades on… “It was great to have had Cantopop then or else the Cantonese language would have died. I was very Sam Hui (許冠傑) lucky to have Fatal Irony <<啼笑姻緣>>. It was a The Genius and the Idiot Featuring in the titular movie, which was gift from God. No one had ever done a song like this popularised due to its slapstick humour, before and it became popular because people are good listeners. I never claimed that Fatal Irony was the first Cantopop song, but that’s this song features a strong British rock just what people keep telling me.