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Bossini International Holdings Limited Invests HK$40M in New Brand “SPARKLE”
PRESS RELEASE August 28, 2002 Bossini International Holdings Limited Invests HK$40m in new brand “SPARKLE” New label expected to generate huge interest in PRC casual wear market and record sales of HK$120m in first seven months Bossini International Holdings Limited (592), the Hong Kong-based fashion chain store, today announced the September launch of SPARKLE, targeting the casual wear sector on the Mainland. During the next seven months, Bossini plans to build an extensive sales network for the new brand by establishing SPARKLE fashion chains in seven major cities including Shanghai, Beijing, Tianjin, Wuhan, Nanjing, Guangzhou, and Shenzhen. An anticipated 50 directly managed stores will open in the first phase of the launch, most located in high traffic areas and within department stores. Store sizes range from an average of 1,000 square feet to a maximum of 3,000 square feet. Mr. Edgar To, Executive Director of Bossini International Holdings Limited said, “Our capital expenditure for the first stage launch of the SPARKLE brand is HK$17m. In return, we expect to record sales of HK$120m in the first seven months of operations to the end of March 2003. We also anticipate rapid growth in sales over the next three years, with retail gross margin of 45%.” Mr. To said the time is right to implement a multi-brand strategy and grow Bossini’s share of the Mainland market. “There is rapid economic growth in many cities in the PRC and it is expected that this will be sustained at least up to 2008,” he said. -
CHAPTER 3 Hong Kong Music Ecosphere
Abstract The people of Hong Kong experienced their deepest sense of insecurity and anxiety after the handover of sovereignty to Beijing. Time and again, the incapacity and lack of credibility of the SAR government has been manifested in various new policies or incidents. Hong Kong people’s anger and discontent with the government have reached to the peak. On July 1, 2003, the sixth anniversary of the hand-over of Hong Kong to China, 500,000 demonstrators poured through the streets of Hong Kong to voice their concerns over the proposed legislation of Article 23 and their dissatisfaction to the SAR government. And the studies of politics and social movement are still dominated by accounts of open confrontations in the form of large scale and organized rebellions and protests. If we shift our focus on the terrain of everyday life, we can find that the youth voice out their discontents by different ways, such as various kinds of media. This research aims to fill the gap and explore the relationship between popular culture and politics of the youth in Hong Kong after 1997 by using one of the local bands KingLyChee as a case study. Politically, it aims at discovering the hidden voices of the youth and argues that the youth are not seen as passive victims of structural factors such as education system, market and family. Rather they are active and strategic actors who are capable of negotiating with and responding to the social change of Hong Kong society via employing popular culture like music by which the youth obtain their pleasure of producing their own meanings of social experience and the pleasure of avoiding the social discipline of the power-bloc. -
Contracted Sales Growth Will Slow in 2021 on Tightened Credit
CORPORATES SECTOR IN-DEPTH Property – China 28 January 2021 China Property Focus: Contracted sales growth will slow in 2021 on tightened credit TABLE OF CONTENTS » We expect national contracted sales growth in 2021 to slow amid tighter onshore Mild national contracted sales growth credit conditions. National contracted sales value grew 10.8% year-on-year in 2020 likely in 2021 2 (compared with 10.3% growth in 2019), largely driven by an increase in average selling Rated developers' offshore bond issuance remained robust in January price. Contracted sales volume (gross floor area), increased by 3.2% in 2020, higher than amid signs of tightening onshore the 1.5% growth in 2019, reflecting solid housing demand and the gradual economic credit to the sector 4 recovery in China despite the disruption caused by the coronavirus outbreak in early Liquidity stress indicator remained flat in December 2020 5 2020. Eight rating actions from 27 November to 26 January 6 » Rated developers' offshore bond issuance remained robust in January amid signs Appendix I 8 of tightening onshore credit to the sector. Rated developers issued $11.5 billion of Appendix II 9 offshore bonds in January 2021 (to 26 January), mainly for refinancing. The amount Appendix III 13 dropped 30% from $16.5 billion in January 2020 but remained robust compared to the Moody's related publications 14 $4.4 billion average monthly issuance in 2020. The active issuance at the beginning of the year also reflects developers' efforts to replenish liquidity amid signs of tightening onshore credit to the sector. On 31 December 2020, the Chinese regulators announced Contacts new guidelines to limit Chinese banks' property loan exposure. -
The Studies of HKIFF: an Overview of a Burgeoning Field of Its Establishment in the Current Years
The studies of Hong Kong International Film Festival (HKIFF) : Title an overview of a burgeoning field of its establishment in the current years Author(s) Law, Pik-yu Law, P. E.. (2015). The studies of Hong Kong International Film Festival (HKIFF) : an overview of a burgeoning field of its Citation establishment in the current years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Issued Date 2015 URL http://hdl.handle.net/10722/223429 The author retains all proprietary rights, (such as patent rights) and the right to use in future works.; This work is licensed under Rights a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The Studies of HKIFF: An Overview of a Burgeoning Field of its establishment in the current years The University of Hong Kong Department of Sociology Assignment / Essay Cover Sheet1 Programme Title: Master of Social Sciences in Media, Culture and Creative Cities – MSocSc(MCCC) Title of Course: SOCI8030 Capstone Project Course Code: SOCI8030 Title of Assignment / Essay: The Studies of Hong Kong International Film Festival (HKIFF): An overview of a Burgeoning Field of its establishment in the current years Student Name: LAW, Pik Yu Eugenia Student Number: 2013932305 Year of Study: Year 2 Date of Resubmission2: Plagiarism Plagiarism is the presentation of work which has been copied in whole or in part from another person’s work, or from any other source such as the Internet, published books or periodicals without due acknowledgement given in the text. Where there are reasonable grounds for believing that cheating has occurred, the action that may be taken when plagiarism is detected is for the staff member not to mark the item of work and to report or refer the matter to the Department. -
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Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films. -
DISPLAY CHINA 2018 2018.6.27-29 Shanghai New International Exhibition Center
DISPLAY CHINA 2018 2018.6.27-29 Shanghai New International Exhibition Center In conjunction with Organiser China Optics and Optoelectronics Manufactures Association LCB (CODA) Message from Organiser Reed Exhibitions Kuozhan (Shanghai) Co.,Ltd. The electronic and information industry is playing an ever more important role in the global economy. Having made consistent progress for a decade, the revenue of China's display industry grew 7.5 and 3 times respectively during the 11th Five-Year and 12th Five-Year Plan periods, and became the most important growth pole in the global display industry. According to forecast, the China will rank first in production output of display panel by 2019. China's new display industry has developed sophisticated technologies and mature markets, and meanwhile it is steadily progressing in technology research and innovation. Technology, market, product and competition of the display industry will change a lot in the coming years. The consistent innovation in materials and production techniques has been continuallly pushing new display and touch panel products toward larger sizes, faster response time and precise control. In order to exhibit the latest new display technologies, lead and accelerate integration of new display technologies and applications, China Optics and Optoelectronics Manufactures Association LCB (CODA) and Reed Exhibitions Kuozhan will jointly organize the DISPLAY CHINA exhibition. This exhibition will attract more than 22,000 high-end participants from display panel production, associated -
Feff Press Kit
PRESS RELEASES, FILM STILLS & FESTIVAL PICS AND VIDEOS TO DOWNLOAD FROM WWW.FAREASTFILM.COM PRESS AREA Press Office/Far East Film Festival 19 Gianmatteo Pellizzari & Ippolita Nigris Cosattini +39/0432/299545 - +39/347/0950890 [email protected] - [email protected] Video Press Office Matteo Buriani +39/345/1821517 – [email protected] 21/29 April 2017 – Udine – Teatro Nuovo and Visionario FAR EAST FILM FESTIVAL 19: THE POWER OF ASIA! The irresistible road movie Survival Family opens the #FEFF19 on Friday the 21 st of April: a packed programme which testifies to the incredible vitality (both productive and creative) of Asian cinema. 83 titles selected from almost a thousand seen, and 4 world premiers, including Herman Yau's high-octane thriller Shock Wave , which will close the nineteenth edition. Press release of the 13 th of April 2017 For immediate release UDINE - Who turned out the lights? Nobody did, and the fuses haven't blown. And no, it's not even a power cut. Electricity has just suddenly ceased to exist, so the Suzuki family must now very quickly learn the art of survival: and facing a global blackout is not exactly a walk in the park! It's with the world screeching to a halt of the irresistible Japanese road movie Survival Family that the highly anticipated Far East Film Festival 19 opens: not just because Yaguchi Shinobu' s wonderful comedy is the festival's starting pistol on Friday the 21 st of April, but also for a question of symmetry: just like the blackout in Survival Family , the FEFF is an interruption . -
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Humanity 2012 Papers. ~~~~~~ “‘We are all the same, we are all unique’: The paradox of using individual celebrity as metaphor for national (transnational) identity.” Joyleen Christensen University of Newcastle Introduction: This paper will examine the apparently contradictory public persona of a major star in the Hong Kong entertainment industry - an individual who essentially redefined the parameters of an industry, which is, itself, a paradox. In the last decades of the 20th Century, the Hong Kong entertainment industry's attempts to translate American popular culture for a local audience led to an exciting fusion of cultures as the system that was once mocked by English- language media commentators for being equally derivative and ‘alien’, through translation and transmutation, acquired a unique and distinctively local flavour. My use of the now somewhat out-dated notion of East versus West sensibilities will be deliberate as it reflects the tone of contemporary academic and popular scholarly analysis, which perfectly seemed to capture the essence of public sentiment about the territory in the pre-Handover period. It was an explicit dichotomy, with commentators frequently exploiting the notion of a culture at war with its own conception of a national identity. However, the dwindling Western interest in Hong Kong’s fate after 1997 and the social, economic and political opportunities afforded by the reunification with Mainland China meant that the new millennia saw Hong Kong's so- called ‘Culture of Disappearance’ suddenly reconnecting with its true, original self. Humanity 2012 11 Alongside this shift I will track the career trajectory of Andy Lau – one of the industry's leading stars1 who successfully mimicked the territory's movement in focus from Western to local and then regional. -
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. -
K O R E a N C in E M a 2 0
KOREAN CINEMA 2006 www.kofic.or.kr/english Korean Cinema 2006 Contents FOREWORD 04 KOREAN FILMS IN 2006 AND 2007 05 Acknowledgements KOREAN FILM COUNCIL 12 PUBLISHER FEATURE FILMS AN Cheong-sook Fiction 22 Chairperson Korean Film Council Documentary 294 206-46, Cheongnyangni-dong, Dongdaemun-gu, Seoul, Korea 130-010 Animation 336 EDITOR-IN-CHIEF Daniel D. H. PARK Director of International Promotion SHORT FILMS Fiction 344 EDITORS Documentary 431 JUNG Hyun-chang, YANG You-jeong Animation 436 COLLABORATORS Darcy Paquet, Earl Jackson, KANG Byung-woon FILMS IN PRODUCTION CONTRIBUTING WRITER Fiction 470 LEE Jong-do Film image, stills and part of film information are provided by directors, producers, production & sales companies, and Film Festivals in Korea including JIFF (Jeonju International Film Festival), PIFF APPENDIX (Pusan International Film Festival), SIFF (Seoul Independent Film Festival), Women’s Film Festival Statistics 494 in Seoul, Puchon International Fantastic Film Festival, Seoul International Youth Film Festival, Index of 2006 films 502 Asiana International Short Film Festival, and Experimental Film and Video Festival in Seoul. KOFIC appreciates their help and cooperation. Contacts 517 © Korean Film Council 2006 Foreword For the Korean film industry, the year 2006 began with LEE Joon-ik's <King and the Clown> - The Korean Film Council is striving to secure the continuous growth of Korean cinema and to released at the end of 2005 - and expanded with BONG Joon-ho's <The Host> in July. First, <King provide steadfast support to Korean filmmakers. This year, new projects of note include new and the Clown> broke the all-time box office record set by <Taegukgi> in 2004, attracting a record international support programs such as the ‘Filmmakers Development Lab’ and the ‘Business R&D breaking 12 million viewers at the box office over a three month run. -
Hong Kong Filmmakers Search: Eric TSANG
Eric TSANG 曾志偉(b. 1953.4.14) Actor, Director, Producer A native of Wuhua, Guangdong, Tsang was born in Hong Kong. He had a short stint as a professional soccer player before working as a martial arts stuntman at Shaw Brothers Studio along with Sammo Hung. In 1974, he followed Lau Kar-leung’s team to join Chang Cheh’s film company in Taiwan, and returned to Hong Kong in 1976. Tsang then worked as screenwriter and assistant director for Lau Kar-leung, Sammo Hung and Jackie Chan in companies such as Shaw Brothers and Golden Harvest. Introduced to Karl Maka by Lau, Tsang and Maka co-wrote the action comedy Dirty Tiger, Crazy Frog! in 1978. Tsang made his directorial debut next year with The Challenger (1979). In 1980, Tsang was invited by Maka to join Cinema City. He became a member of the ‘Team of Seven’, participating in story creation. He soon directed the record shattering Aces Go Places (1982) and Aces Go Places II (1983), while he also produced a number of movies that explored different filmmaking approaches, including the thriller He Lives by Night (1982), Till Death Do We Scare (1982), which applied western style make-up and special effects, and the fresh comedy My Little Sentimental Friend (1984). Tsang left Cinema City in 1985 and became a pivotal figure in Hung’s Bo Ho Films. He was the associate producer for such films as Mr. Vampire (1985) and My Lucky Stars (1985). In 1987, Tsang co-founded Alan & Eric Films Co. Ltd. with Alan Tam and Teddy Robin. -
California Tower Celebrated Its Grand Opening in Lan Kwai Fong with the Theme ‘Dance to the Beat of Your Own Drum’
California Tower Celebrated its Grand Opening in Lan Kwai Fong With the theme ‘Dance to the Beat of Your Own Drum’ (Hong Kong, 30 November 2015) The highly anticipated grand opening of the California Tower took place on 30th November 2015, drawing in Hong Kong’s creme de la creme to witness the unveiling of the brand new, one-stop lifestyle and entertainment destination in the heart of Central. With the theme colour purple, the event centred around the expression ‘Dance to the Beat of Your Own Drum’ - a motto that sums up spirit of the California Tower, where it’s all about having fun, enjoying the spaces that it has to offer - and finding your own rhythm. At the Grand Opening, Chairman of the Lan Kwai Fong Group and the “Father of Lan Kwai Fong” Dr Allan Zeman said, “With the return of California Tower, it pumps in a lot of new energy and will bring Lan Kwai Fong to a whole new level! The premium dining, entertainment and lifestyle concepts in the new building will provide endless entertainment to people in Hong Kong and beyond!” The Grand Opening saw seminal Cantopop singer and actress, the Kelly Chen take to the stage. While Lan Kwai Fong went from humble beginnings 30 years ago to the world-famous dining and nightlife destination it is today, the legendary performer has been in showbiz for almost 20 years, with millions of records sold. What’s more, with her energetic live performance that got the crowd moving on their feet, the “Diva of Asia” was the embodiment of “Dance to the Beat of Your Own Drum”.