Filtrer par genre
The Hong Kong On Screen Podcast is a podcast about Hong Kong cinema, hosted by HongKongers. It is brought to you by Hong Kong On Screen, a nonprofit organization based in Los Angeles that aims to preserve and promote Hong Kong culture, especially Hong Kong cinema.
Powered by Firstory Hosting
- 60 - Ep. 57: Pai Niang Niang: The Last Osmanthus Blossom《白孃孃:一朶遲桂花》 w/ Director Isabel Wong [Cantonese]
🎙️📽️🌸 在這一集podcast,主持人跟導演圍繞紀錄片《白孃孃:一朶遲桂花》討論了以下幾點:
🔍 埋藏了52年的錄影帶是如何發現?影帶錄下了什麼呢?這個發現跟潘迪華(潘姐姐)有什麼關係呢?
👩🎤 《白孃孃》究竟是什麼呢?潘姐姐對這套音樂劇有什麼期望呢?
🎭 我們是從那裡認識潘姐姐呢?
🎬 潘姐姐喜歡演戲嗎?她是演員還是歌星?
💡 在製作這個紀錄片的過程中,最困難的是什麼呢?
🌍 最終能把這套紀錄片帶給海外的觀眾,導演會有什麼期望呢?
📅 潘組姐的個人紀錄片什麼時候推出呢?內容有些什麼呢?
🎥 這部紀綠片會在5月29日下午4時於McCormick Screening Room, UC Irvine 免費放映,導演會親身出席映後訪談,請觀眾撥冗出席。
🎟️ 請情可看這裡:https://www.hkonscreen.org/painiangniang-chi
🎙️📽️🌸 In this episode of the podcast, the host and the director discussed the following points regarding the documentary "Pai Niang Niang: The Last Osmanthus Blossom":
🔍 How was the videotape buried for 52 years discovered? What was recorded on the tape?
👩🎤 What is this discovery related to Rebecca Pan (Sister Pan)? What is "Pai Niang Niang"? What are Sister Pan's expectations for this musical?
🎭 How did we first know Sister Pan?
🎬 Does Sister Pan like acting? Is she an actress or a singer?
💡 What was the most challenging part of making this documentary?
🌍 What are the director's expectations for finally bringing this documentary to overseas audiences?
📅 When will Sister Pan's documentary be released? What does it contain?
🎥 This documentary will be screened for FREE at the McCormick Screening Room, UC Irvine, on May 29th at 4 pm. The director will personally attend a post-screening interview. Please make time to attend!
🎟️ Free ticketing information: https://www.hkonscreen.org/painiangniang
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingThu, 09 May 2024 - 59 - Ep. 56: Back Home (七月返歸) w/ Director Nate Ki [Cantonese]
《七月返歸》終於來北美放映,各位香港電影迷,記得3月29日,一定要盡快買票入場!
《銀幕·香港》很開心得到美國發行的邀請,跟導演謝家祺做一個簡而精的訪問,訪問中除了談到電影創作的源起,還談了Mirror 文化,導演大贊AK (江𤒹生)粉絲,讓他們劇組非常感動。想聽更多,記得馬上收聽啦!
The North American premiere of "BACK HOME" has finally arrived, and Hong Kong's film enthusiasts should mark March 29th on their calendars and purchase their tickets promptly.
"Hong Kong On Screen" was delighted to have been invited by the US distributor to conduct a brief yet insightful interview with the film's director, Nate Ki. The discussion covered the film's genesis and delved into the concept of Mirror (A Hong Kong Cantopop Boy group) culture. The director expressed admiration for AK (Anson Kong) fans, which deeply moved the film's crew. If you're interested in hearing more, the interview can be listened to now.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingFri, 22 Mar 2024 - 58 - Ep. 55: Spacked Out w/ Director Lawrence Lau [English]
We interview director Lawrence Lau of Spacked Out on the impressionistic, romantic style of his film, working with Johnnie To, and what the hell “spacked out” actually means!
Films mentioned:
Spacked Out《無人駕駛》
Gangs《童黨》
Queen of Temple Street《廟街皇后》
Lee Rock《雷洛傳》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingMon, 15 Jan 2024 - 57 - Ep. 54: Hong Kong Film History Pt. 5 w/ Po Fung (蒲鋒) 3/3 [Cantonese]
「香港電影史導論 Podcast第五集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第五集「香港電影在1960年代的變遷」
討論大網:
1960年代的香港影業基本上延續1950年代,主要的導演和編劇都是1950年代初已入行的一批,創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面,類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影,也有關心下一代會否學壞的青春片,並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面,經濟成長也造就一種追求個性解放的心態,造就了張徹以陽剛為號召的武俠片,從而把香港電影以至中國電影的女明星主導的傳統徹底改變。
在這第五集的podcast, 我們一共分開三節,每節的主題如下:
5.1 60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。
5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影,另外我們也重點討論了楚原和龍剛的電影
5.3 60年代電影產業的一些特有現象,以及六七暴動和無線電視廣播對香港電影的影響,及至最後香港粵語片停產的原因。
Outline of Introduction to Hong Kong Film Industry Podcast Part 5
About this series of podcasts, please check here.
Episode 5: “Changes in Hong Kong Cinema in the 1960s”
The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.
However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.
For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.
As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema.
In this fifth episode of the podcast, we have three segments, each focusing on the following topics;
5.1The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.
5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.
5.3 Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.
******************
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which was a collaboration with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingMon, 25 Dec 2023 - 56 - Ep. 53: Hong Kong Film History Pt. 5 w/ Po Fung (蒲鋒) 2/3 [Cantonese]
「香港電影史導論 Podcast第五集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第五集「香港電影在1960年代的變遷」
討論大網:
1960年代的香港影業基本上延續1950年代,主要的導演和編劇都是1950年代初已入行的一批,創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面,類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影,也有關心下一代會否學壞的青春片,並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面,經濟成長也造就一種追求個性解放的心態,造就了張徹以陽剛為號召的武俠片,從而把香港電影以至中國電影的女明星主導的傳統徹底改變。
在這第五集的podcast, 我們一共分開三節,每節的主題如下:
5.1 60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。
5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影,另外我們也重點討論了楚原和龍剛的電影
5.3 60年代電影產業的一些特有現象,以及六七暴動和無線電視廣播對香港電影的影響,及至最後香港粵語片停產的原因。
Outline of Introduction to Hong Kong Film Industry Podcast Part 5
About this series of podcasts, please check here.
Episode 5: “Changes in Hong Kong Cinema in the 1960s”
The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.
However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.
For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.
As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema.
In this fifth episode of the podcast, we have three segments, each focusing on the following topics;
5.1 The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.
5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.
5.3Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.
******************
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which was a collaboration with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingMon, 18 Dec 2023 - 55 - Ep. 52 Convo with Veteran Journalist Edward Choi (蔡仔) on IN BROAD DAYLIGHT (白日之下)
🕵️ 🔎 👁️🗨️為了希望更多人了解《白日之下》這部電影的幕後故事,「銀幕·香港」很開心邀請了前資深記者,也就是揭發《白日之下》幾組故事的偵查組組長蔡傳威先生(人稱蔡仔),跟我們錄製了這一集podcast。 蔡仔除了解釋當天偵查新聞背後的故事外,還分享了對電影的看法。
🖊️🖊️🖊️ 延伸閱讀:
🔴 我們的偵查時代:曾揭發《白日之下》老人院露天沖涼事件 「爆料」以外 前資深偵查記者着眼深化議題:Newsroom的人相信記者支筆可影響世界
https://shorturl.at/beiLU
🕵️ 🔎 👁️🗨️ To help more people understand the behind-the-scenes story of the film IN BROAD DAYLIGHT, HKOS is delighted to invite the veteran journalist Mr. Edward Choi, who was the head of the investigative team that uncovered several stories related to IN BROAD DAYLIGHT to record this podcast episode with us. Besides explaining the stories behind the investigative news that day, Mr. Choi shares his perspectives on the film.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
#INBROADDAYLIGHT
#白日之下
#蔡傳威
#蔡仔
#余香凝
#偵查新聞
#香港電影
#明報
#香港01
#HKOSPodcast
Powered by Firstory HostingThu, 14 Dec 2023 - 54 - Ep. 51: Interview with Vincent Cui (崔允信) on his three indies [Cantonese]
🎞️🎞️🎞️ 早前在「銀幕香港Indie電影網上展」,一連展出了三部崔允信的作品,分別是《無花果》(2013)、《憂憂愁愁的走了》(2002)以及《三條窄路》(2009),在這一集,我們跟導演詳談了三部電影的創作過程,以及今天當下觀賞這三部舊作的意義。討論的問題眾多,例如:
👉電影裡面的宗教意識相當明顯,導演自已是有宗教信仰呢?
👉三部電影均有外地取景,當年拍攝時有遇到困難嗎?
👉是不是一直只會拍獨立製作?
👉《憂憂愁愁的走了》還有另一個結局?
👉為什麼拍電影要趁年輕盡快拍?
👉這三部獨立電影有在香港或其他地方公開放映過嗎?
👉導演是如何根據劇本去拍攝電影呢?
👉三部電影的文本可以互讀嗎?
👉往後還有拍攝計劃嗎?
👉海外華人可以如何支持香港的獨立製作呢?
🎞️🎞️🎞️ Earlier, in the 'HKOS Indie Film Online Showcase,' we showed three films from director Vincent Cui: 'Fig' (2013), 'Leaving in Sorrow' (2002), and 'Three Narrow Gatess' (2009).
In this episode, we discussed the creative process of these three films and the significance of watching these works today with the director. Many questions were discussed, such as:
👉 The religious consciousness inside the films is quite prominent. Does the director himself have a religious belief?
👉 All three films were shot in locations outside Hong Kong. Did the director encounter any difficulties during the filming?
👉 Does the director only focus on independent productions?
👉 Does 'Leaving in Sorrow' have an alternate ending?
👉 Why should one make movies when young and as soon as possible?
👉 Have these three independent films been publicly screened in Hong Kong or elsewhere?
👉 How does the director shoot films based on the script?
👉 Can the texts of these three films be read about each other?
👉 Are there any future film projects?
👉 How can overseas Chinese support independent productions in Hong Kong?
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 12 Dec 2023 - 53 - Ep. 50: Hong Kong Film History Pt. 5 w/ Po Fung (蒲鋒) 1/3 [Cantonese]
「香港電影史導論 Podcast第五集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第五集「香港電影在1960年代的變遷」
討論大網:
1960年代的香港影業基本上延續1950年代,主要的導演和編劇都是1950年代初已入行的一批,創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面,類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影,也有關心下一代會否學壞的青春片,並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面,經濟成長也造就一種追求個性解放的心態,造就了張徹以陽剛為號召的武俠片,從而把香港電影以至中國電影的女明星主導的傳統徹底改變。
在這第五集的podcast, 我們一共分開三節,每節的主題如下:
5.1 60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。
5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影,另外我們也重點討論了楚原和龍剛的電影
5.3 60年代電影產業的一些特有現象,以及六七暴動和無線電視廣播對香港電影的影響,及至最後香港粵語片停產的原因。
Outline of Introduction to Hong Kong Film Industry Podcast Part 5
About this series of podcasts, please check here.
Episode 5: “Changes in Hong Kong Cinema in the 1960s”
The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.
However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.
For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.
As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema.
In this fifth episode of the podcast, we have three segments, each focusing on the following topics;
5.1The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.
5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.
5.3Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.
******************
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which was a collaboration with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 05 Dec 2023 - 52 - Ep. 49: Vanished Archives w/ Director Connie Yan-wai Lo 2/2 [Cantonese]
《消失的檔案》(2017) 是其中一部在「銀幕·香港」香港Indie電影網上展放映的電影 (詳情:https://www.hkonscreen.org/indie-home)。
在這一集Podcast, 羅恩惠導演談到在《消失的檔案》拍攝過程中追溯到的在這一歷史事件中扮演重要角色的一些人,以及影片在製作後期及放映時遇到的一些困難和回瞶。
(1)吳荻舟在六七暴動中扮演的重要角色
(2)參加六七暴動的人呈現出很不同的面目:廖一原,羅孚,劉文成,曾宇雄,梁慕嫻... 15:00
(3)影片製作後期遇到的困難及放映過程中觀眾的回瞶 1:02:00
(4)香港作為殖民地與六七暴動的關係?為什麼六七暴動不是反殖運動?1:14:00
Vanished Archives (2017) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home).
In this episode, the Director of "Vanishing Archive" details some important incidents and characters she discovered about the 1967 Riot. Director Connie Yan-wai Lo also recounts some difficulties and feedback she has encountered in the film's post-production and reception.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingMon, 06 Nov 2023 - 51 - Ep. 48: Vanished Archives w/ Director Connie Yan-wai Lo 1/2 [Cantonese]
《消失的檔案》(2017) 是其中一部在「銀幕·香港」香港Indie電影網上展放映的電影 (詳情:https://www.hkonscreen.org/indie-home)。
在這一集Podcast, 羅恩惠導演談到《消失的檔案》(2017) 這個紀錄片的創作源起,在2017六七暴動五十週年前後香港傳統左派重述歷史的企圖,以及導演在尋找材料和追訪的過程中發現的種種現存歷史敘述、訪問口敘、與檔案史料之間的差異。
(1)《消失的檔案》在當下放映的意義 4:00
(2)六七暴動與2019 的可比性,它對當下的警惕、共鳴、與連結 8:00
(3)在影片創作的過程中,2012-2017這幾年間,香港傳統左派在暴動五十週年前後如何敘述這段歷史?19:50
(4)影片製作過程:團隊,資金,與左派敘述的分歧 36:00
Vanished Archives (2017) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home).
In this episode, the Director of "Vanishing Archives (2017)" speaks to the origin of the project and the attempt by Hong Kong's traditional Leftists to revisit and rewrite the history of the 1967 Riot at the incident's 50th Anniversary in 2017. Most importantly, Director Connie Yan-wai Lo reveals what she has discovered about this history in the process of researching for the film, especially on the discrepancies between the narration of the traditional Left and what she has found in the archive.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingMon, 06 Nov 2023 - 50 - Ep. 47: Bamboo Theatre w/ Director Cheuk Cheung [Cantonese]
In this episode, director Cheuk Cheung joins us to discuss several aspects of his documentary Bamboo Theatre, including the behind-the-scenes process, his direct cinema stylistic choices, and the context of several important sections.
Bamboo Theatre is screening as part of HKOS’s Indie Film Online Showcase, from Oct. 30 to Nov. 5, 2023.
Films mentioned:
Bamboo Theatre《戲棚》
My Way《乾旦路》
My Next Step《一個武生》
Farewell My Concubine《霸王別姬》
Hu-Du-Men《虎度門》
Two Stage Sisters《舞台姐妹》
A City of Sadness《悲情城市》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSat, 04 Nov 2023 - 49 - Ep. 46: Interview w/ Director of 3CM (2019) Wong Siu-pong (黃肇邦)
《3CM》(2019) 是其中一部在「銀幕·香港」香港Indie電影網上展放映的電影 (詳情:https://www.hkonscreen.org/indie-home)。《3CM》(2019)看似一個微不足道的距離,卻是結節性硬化症病人生死存亡的指標,影響他們能否得到合適的藥物。電影由兩位背景各異的病友媽媽的角度出發,走訪他們爭取生存權利和尊嚴的歷程,從而探討公共政策及社會公義等課題。《3CM》(2019)不只是罕見病病友的故事,也是香港人的故事。
「銀幕·香港 Podcast」在這一集邀請了《3CM》(2019)的導演黃肇邦一起討論了:
1. 為何導演揀選罕見病這個比較特別的題材?拍攝紀錄片的緣起是?
2. 藥物政策、醫療倫理、公共衛生等議題都相對沉重而複雜,亦需要很多資訊才能令到一般觀眾理解,導演又如何平衡不同素材,同時可以牽動觀眾,令人想繼續觀看呢?
3. 拍攝紀錄片就跟人生一樣無法預計,在剪輯過程中,遇到甚麼困難?如何選取、編排素材?
4. 電影把焦點放在照顧者社群和他們爭取權益的歷程上,而不是集中描繪罕見病病友的嚴峻病況,為何會有這樣的安排?
5. 紀錄片中被訪者都十分真誠和信任地講出心聲,導演是如何建立這份關係?
6. 電影其中一個核心訊息是為自己發聲、嘗試帶出改變。我們看到片中被訪者如何發聲,那麼對導演來說,何謂發聲?
7. 電影最後以一個對比鮮明的畫面作結,期望帶出甚麼訊息?
8. 之前在香港本地放映,受疫情所限未必能接觸到很多觀眾,是次網上放映則可以接觸到海外觀眾,導演有甚麼看法?
9. 可以透露一下接下來的電影項目嗎?
3CM (2019) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home). Despite its seemingly insignificant distance, 3CM (2019) serves as a crucial marker of life and death for patients with tuberous sclerosis, impacting their ability to access the proper medication. The film takes the perspective of two mothers from diverse backgrounds who embark on a journey to fight for their right to survival and dignity, thereby exploring issues related to public policy and social justice. 3CM (2019) is not only a story of rare disease patients but also a story of the people of Hong Kong.
In this episode, director Wong Siu-pong of 3CM (2019) joins the discussion to explore:- Why did the director choose the relatively unique topic of rare diseases? What was the inspiration behind making this documentary?Issues like drug policies, medical ethics, and public health can be pretty heavy and complex, often requiring much information for the general audience to understand. How did the director balance the different materials to engage the audience and keep them interested?Filmmaking, like life, is unpredictable. During the editing process, what challenges did the director face, and how did they select and arrange the materials?The film focuses on the caregiver community and their journey to advocate for their rights rather than solely depicting the severe conditions of rare disease patients. What was the reasoning behind this approach?The interviewees in the documentary are very candid and trusting in sharing their thoughts. How did the director establish this rapport?One of the core messages of the film is about speaking up for oneself and trying to bring about change. We see how the interviewees in the movie do this, but for the director, what does "speaking up" mean?The film ends with a stark visual contrast. What message does the director hope to convey with this ending?Previously, the film was screened locally in Hong Kong, and due to the pandemic, it may not have reached many viewers. With online screening, it can reach an international audience. What are the director's thoughts on this?Could you give us a glimpse of the director's upcoming film projects?
嘉賓主持:阿紗
Guest Host: Ah-Sha
Follow her @ https://www.instagram.com/hk.finger/
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingFri, 03 Nov 2023 - 48 - Ep. 45: Interview w/ SDAFF Artistic Director Brian Hu (II) [English]
The Artistic Director of the San Diego Asian Film Festival Brian Hu returns to our podcast! In this mega episode, we unveil the inner workings of a major film festival and dive into highlights from this year’s edition, including the three Hong Kong films in the official selection – Mad Fate, Elegies, and Farewell My Concubine. Later, Brian discusses his thoughts on contemporary Hong Kong and Asian cinema, and gives advice to filmmakers looking to submit.
Movies mentioned:
Drug War《毒戰》
Romancing in Thin Air《高海拔之戀II》
Don’t Go Breaking My Heart《單身男女》
The Oath of the Sword
Youth (Spring)《青春》
Mad Fate《命案》
Elegies《詩》
Keep Rolling《好好拍電影》
Farewell My Concubine《霸王別姬》
The Narrow Road《窄路微塵》
Table for Six《飯戲攻心》
A Guilty Conscience《毒舌大狀》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingThu, 02 Nov 2023 - 47 - Ep. 44: Farewell My Concubine w/ Dr. Ho-Fung Hung 4/4 [Cantonese]
💙💙💙 影片《霸王別姬》改編自🇭🇰香港女作家李碧華的同名小說。這部由陳凱歌導演,蘆葦編劇,張國榮🇭🇰、鞏俐、張豐毅、葛優等人領銜主演的電影,堪稱集齊大陸、香港、臺灣兩岸三地之財力、物力及人力合作創制而成的經典之作。作爲華語影壇藝術成就最高且享有世界盛譽的旗幟級影片,《霸王別姬》自1993年問世以來,贏得了億萬影迷青睞,打破了中國內地文藝片在美國的票房紀錄,並爲陳凱歌一舉拿下1993年度法國康城影展的最高榮譽金棕櫚大獎、美國金球獎最佳外語片、國際影評人聯盟大獎等多項國際榮譽,2005年《霸王別姬》入選美國《時代週刊》評選的「全球史上百部最佳電影」,畫下了陳凱歌導演藝術生涯最爲濃墨重彩的一筆。
🌟🌟🌟 當這部電影於1993年進入美國影院時,Miramax 的哈維·韋恩斯坦 (Harvey Weinstein) 從電影中删了14分鐘。現在,Film Movement Classics將以全長171分鐘的完整版重新回到影院。該發行商將於9月22日在紐約市的Film Forum推出北美影院的最新修復4K版本。洛杉磯的觀衆可以在9月29日在Nuart觀看這個版本。
為了隆重其事,我們製作了四集podcast, 邀請了四名學者,從各自的領域探討《霸王別姬》這部華語電影的重要性。四集節目中,兩集以英語進行,另兩集會以廣東話錄音。
在最後一集,請來了約翰霍普金斯大學的孔誥烽教授來跟我們討論了《霸王別姬》裡面的中國歷史觀如何不合當今的官方論述;另外,電影中的對文革的描述跟今天官方的主導思想有何異同呢?
💙💙💙 The film "Farewell My Concubine" is adapted from the novel of the same name by 🇭🇰Hong Kong writer Lilian Lee. Directed by Chen Kaige, written by Lu Wei, and starring Leslie Cheung🇭🇰, Gong Li, Zhang Fengyi, Ge You, and others, this movie can be considered a classic collaboration that brought together financial, material, and human resources from Mainland China, Hong Kong, and Taiwan. As a flagship film with the highest artistic achievements in the Chinese-language film industry and enjoying worldwide acclaim, "Farewell My Concubine" has been beloved by millions of fans since its release in 1993. It broke the box office records for mainland Chinese art films in the United States. It won numerous international honors for Chen Kaige, including the Palme d'Or at the 1993 Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, and awards from the International Federation of Film Critics. In 2005, "Farewell My Concubine" was selected as one of the "100 All-Time Best Films" by Time magazine, marking a brilliant chapter in Chen Kaige's directorial career.
🌟🌟🌟 When the film reached US theaters in 1993, Miramax's Harvey Weinstein cut 14 minutes from the movie. Film Movement is now being returned to theaters in its full 171-minute glory, courtesy of Film Movement Classics. The distributor will release a newly restored 4K version in North American theaters beginning September 22 at the Film Forum in New York City.
Audiences in Los Angeles can see this version on the big screen on September 29 at the Nuart Theatre.
To make it grand, we produced a four-episode podcast, inviting four scholars to discuss the significance of this Chinese-language film, "Farewell My Concubine," from their respective fields. Two of the four episodes will be conducted in English, and the other two will be recorded in Cantonese.
In the final episode, Professor Ho-fung Hung from Johns Hopkins University joined us to discuss how the Chinese historical perspectives presented in "Farewell My Concubine" differ from contemporary official narratives. Furthermore, what are the similarities and differences between the movie's portrayal of the Cultural Revolution and today's prevailing official ideology?
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 17 Oct 2023 - 46 - Ep. 43: Farewell My Concubine w/ Prof. Chris Berry 3/4 [English]
Continuing our 4-part series on the seminal film Farewell My Concubine, Prof. Chris Berry joins us to discuss the film in the context of the Fifth Generation of Chinese cinema, its queer representation, and its taboo depiction of the Cultural Revolution.
Films mentioned:
Farewell My Concubine《霸王別姬》
Serfs《農奴》
To Live《活着》
Hero《英雄》
Yellow Earth《黃土地》
Red Sorghum《紅高粱》
Blue Kite《藍風箏》
Horse Thief《盜馬賊》
A City of Sadness《悲情城市》
The Battle at Lake Changjin《長津湖》
The Battle at Lake Changjin II《長津湖之水門橋》
Full River Red《滿江紅》
East Palace West Palace《東宮西宮》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingWed, 11 Oct 2023 - 45 - [電影旅神 D’Voyagers Ep.2] 殭屍 Rigor Mortis (2013)
☠️☠️☠️ 今集主持人討論了2013年麥浚龍自編自導的電影《殭屍》,這部電影不單止對80年代的《殭屍先生》等殭屍電影系列致敬,還起用了不少80年代參與「殭屍」電影的明星。另外,主持人也討論了麥浚龍和清水崇如何精心設計場面,與及在2013年重拍殭屍電影的意義。
☠️☠️☠️ In this episode, the hosts discussed Juno Mak's 2013 film "Rigor Mortis," which he wrote and directed. This film pays tribute to 1980s zombie film (derived from Taoist folklore) series like "Mr. Vampire" and features many stars who were part of 1980s "hopping vampire" movies. The hosts also discussed how Juno Mak and Takashi Shimizu meticulously designed the scenes and the significance of remaking zombie films in 2013.
*********
電影旅神
在世界某個角落,住著一羣喜歡認真去做無聊事的人。
他們喜歡👀電影 🎞️,食爆谷🍿️
這羣神神化化的人懂得2文3語,又精通具有獨特性的港式社區用語。
用通俗但不低俗方式同各普羅大眾分享對各電影的看法。
但求開心Share🥳,誠邀各善眾👯和我們一起討論電影🎬食爆谷🍿️
D'Voyagers
A group of people enjoy taking mundane activities seriously in some corners of the world. They love watching movies 🎞️ and eating popcorn 🍿️. These somewhat eccentric individuals are multilingual and well-versed in unique Hong Kong community slang. They share their opinions on various films with the general public in a relatable but not vulgar manner. They aim to spread happiness 🥳 and invite all cinephiles 👯 to discuss movies 🎬 and enjoy popcorn 🍿️ together.
麥浚龍,殭屍,殭屍先生,清水崇,殭屍電影,香港電影
-----------------------
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingWed, 04 Oct 2023 - 44 - Ep. 42: On EVERYPHONE EVERYWHERE w/ Director Amos WHY (黃浩然)2/2 [Cantonese]
銀幕·香港於9月30在Starlight Whittier Village Cinemas 上映黃浩然導演的最新作品《全個世界都有電話》。詳情請看:https://www.hkonscreen.org/news/202309-everyphone-everywhere
在這一集podcast, 導演說了劇本的靈感是從來、角色是如何找到、每一個角色的性格是如何定義、為何喜歡用獨立唱作人的作品為電影的配樂呢?
"Hong Kong On Screen" premiered director Wong Ho-yan's latest work 'Everyphone Everywhere' at Starlight Whittier Village Cinemas on September 30. For more details, please visit: https://www.hkonscreen.org/news/202309-everyphone-everywhere
In this podcast episode, the director talked about where the script's inspiration came from, how the characters were found, how each character's personality was defined, and why he chose to use the work of independent singer-songwriters as the film's soundtrack.
---------------------
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSun, 01 Oct 2023 - 43 - Ep. 41: On EVERYPHONE EVERYWHERE w/ Director Amos WHY (黃浩然)1/2 [Cantonese]
「銀幕·香港」將於9月30在Starlight Whittier Village Cinemas 上映黃浩然導演的最新作品《全個世界都有電話》。詳情請看:https://www.hkonscreen.org/news/202309-everyphone-everywhere
在這一集podcast, 黃浩然導演分享了什麼是「金馬創投」 以及他對香港電影產業的看法。在下一集,我們則重點討論有關《全個世界都有電話》這部電影製作時的思考,該集podcast 將會在9月30日下午5時上架,即電影放映後就可以收聽了!
馬上去聽一聽黃浩然跟我們分享對電影產業的看法吧!
"Hong Kong On Screen" will premiere director Wong Ho-yan's latest work 'Everyphone Everywhere' at Starlight Whittier Village Cinemas on September 30. For more details, please visit: https://www.hkonscreen.org/news/202309-everyphone-everywhere
In this podcast episode, director Amos WHY (Wong Ho-yan) discusses what is the Golden Horse Film Investment Forum (GHFIF) and his insights on the Hong Kong film industry. In the next episode, we will focus on the thoughts behind the production of 'Everyphone Everywhere.' This podcast episode will be available for listening at 5:00 PM on September 30, right after the film's screening!
Listen to Director Wong Ho-yan's thoughts on the film industry now!
---------------------
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingMon, 25 Sep 2023 - 42 - Ep. 40: Farewell My Concubine w/ Dr. Isha Ting 2/4 [Cantonese]
❣️❣️❣️ 影片《霸王別姬》改編自🇭🇰香港女作家李碧華的同名小說。這部由陳凱歌導演,蘆葦編劇,張國榮🇭🇰、鞏俐、張豐毅、葛優等人領銜主演的電影,堪稱集齊大陸、香港、臺灣兩岸三地之財力、物力及人力合作創制而成的經典之作。作爲華語影壇藝術成就最高且享有世界盛譽的旗幟級影片,《霸王別姬》自1993年問世以來,贏得了億萬影迷青睞,打破了中國內地文藝片在美國的票房紀錄,並爲陳凱歌一舉拿下1993年度法國康城影展的最高榮譽金棕櫚大獎、美國金球獎最佳外語片、國際影評人聯盟大獎等多項國際榮譽,2005年《霸王別姬》入選美國《時代週刊》評選的「全球史上百部最佳電影」,畫下了陳凱歌導演藝術生涯最爲濃墨重彩的一筆。
🌕🌕🌕 當這部電影於1993年進入美國影院時,Miramax 的哈維·韋恩斯坦 (Harvey Weinstein) 從電影中删了14分鐘。現在,Film Movement Classics將以全長171分鐘的完整版重新回到影院。該發行商將於9月22日在紐約市的Film Forum推出北美影院的最新修復4K版本。洛杉磯的觀衆可以在9月29日在Nuart觀看這個版本。
為了隆重其事,我們製作了四集podcast, 邀請了四名學者,從各自的領域探討《霸王別姬》這部華語電影的重要性。四集節目中,兩集以英語進行,另兩集會以廣東話錄音。
在這一集,兩位「銀幕·香港」的主持人從多方面討了《霸王別姬》的研究路向,例如多種小說與電影的版本?結局有何不同?《霸王別姬》中導演對中國傳統的看法,張國榮這一位明星文本如何在《霸王別姬》這個電影得到啟發?
❣️❣️❣️ The film "Farewell My Concubine" is adapted from the novel of the same name by 🇭🇰Hong Kong writer Lilian Lee. Directed by Chen Kaige, written by Lu Wei, and starring Leslie Cheung🇭🇰, Gong Li, Zhang Fengyi, Ge You, and others, this movie can be considered a classic collaboration that brought together financial, material, and human resources from Mainland China, Hong Kong, and Taiwan. As a flagship film with the highest artistic achievements in the Chinese-language film industry and enjoying worldwide acclaim, "Farewell My Concubine" has been beloved by millions of fans since its release in 1993. It broke the box office records for mainland Chinese art films in the United States. It won numerous international honors for Chen Kaige, including the Palme d'Or at the 1993 Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, and awards from the International Federation of Film Critics. In 2005, "Farewell My Concubine" was selected as one of the "100 All-Time Best Films" by Time magazine, marking a brilliant chapter in Chen Kaige's directorial career.
🌕🌕🌕 When the film reached US theaters in 1993, Miramax's Harvey Weinstein cut 14 minutes from the movie. Film Movement is now being returned to theaters in its full 171-minute glory, courtesy of Film Movement Classics. The distributor will release a newly restored 4K version in North American theaters beginning September 22 at the Film Forum in New York City.
Audiences in Los Angeles can see this version on the big screen on September 29 at the Nuart Theatre.
To make it grand, we produced a four-episode podcast, inviting four scholars to discuss the significance of this Chinese-language film, "Farewell My Concubine," from their respective fields. Two of the four episodes will be conducted in English, and the other two will be recorded in Cantonese.
In this episode, the two hosts discuss various aspects of the research direction for "Farewell My Concubine," such as the different versions of novels and films. What are the differences in the endings? How does the director of "Farewell My Concubine" view Chinese tradition, and how does Leslie Cheung, as a star figure, draw inspiration from the film "Farewell My Concubine"?
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSun, 24 Sep 2023 - 41 - Ep. 39: Farewell My Concubine w/ Dr. Stanley Rosen 1/4 [English]
❣️❣️❣️ 影片《霸王別姬》改編自🇭🇰香港女作家李碧華的同名小說。這部由陳凱歌導演,蘆葦編劇,張國榮🇭🇰、鞏俐、張豐毅、葛優等人領銜主演的電影,堪稱集齊大陸、香港、臺灣兩岸三地之財力、物力及人力合作創制而成的經典之作。作爲華語影壇藝術成就最高且享有世界盛譽的旗幟級影片,《霸王別姬》自1993年問世以來,贏得了億萬影迷青睞,打破了中國內地文藝片在美國的票房紀錄,並爲陳凱歌一舉拿下1993年度法國康城影展的最高榮譽金棕櫚大獎、美國金球獎最佳外語片、國際影評人聯盟大獎等多項國際榮譽,2005年《霸王別姬》入選美國《時代週刊》評選的「全球史上百部最佳電影」,畫下了陳凱歌導演藝術生涯最爲濃墨重彩的一筆。
🌕🌕🌕 當這部電影於1993年進入美國影院時,Miramax 的哈維·韋恩斯坦 (Harvey Weinstein) 從電影中删了14分鐘。現在,Film Movement Classics將以全長171分鐘的完整版重新回到影院。該發行商將於9月22日在紐約市的Film Forum推出北美影院的最新修復4K版本。洛杉磯的觀衆可以在9月29日在Nuart觀看這個版本。
為了隆重其事,我們製作了四集podcast, 邀請了四名學者,從各自的領域探討《霸王別姬》這部華語電影的重要性。四集節目中,兩集以英語進行,另兩集會以廣東話錄音。
在這第一集,來自南加州大學的政治系教授駱思典博士將討論1993年的美國版究竟删剪了些什麼?以及1993年對於《霸王別姬》這電影在中國上映時有什麼特殊的政治性呢?
❣️❣️❣️ The film "Farewell My Concubine" is adapted from the novel of the same name by 🇭🇰Hong Kong writer Lilian Lee. Directed by Chen Kaige, written by Lu Wei, and starring Leslie Cheung🇭🇰, Gong Li, Zhang Fengyi, Ge You, and others, this movie can be considered a classic collaboration that brought together financial, material, and human resources from Mainland China, Hong Kong, and Taiwan. As a flagship film with the highest artistic achievements in the Chinese-language film industry and enjoying worldwide acclaim, "Farewell My Concubine" has been beloved by millions of fans since its release in 1993. It broke the box office records for mainland Chinese art films in the United States. It won numerous international honors for Chen Kaige, including the Palme d'Or at the 1993 Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, and awards from the International Federation of Film Critics. In 2005, "Farewell My Concubine" was selected as one of the "100 All-Time Best Films" by Time magazine, marking a brilliant chapter in Chen Kaige's directorial career.
🌕🌕🌕 When the film reached US theaters in 1993, Miramax's Harvey Weinstein cut 14 minutes from the movie. Film Movement is now being returned to theaters in its full 171-minute glory, courtesy of Film Movement Classics. The distributor will release a newly restored 4K version in North American theaters beginning September 22 at the Film Forum in New York City.
Audiences in Los Angeles can see this version on the big screen on September 29 at the Nuart Theatre.
To make it grand, we produced a four-episode podcast, inviting four scholars to discuss the significance of this Chinese-language film, "Farewell My Concubine," from their respective fields. Two of the four episodes will be conducted in English, and the other two will be recorded in Cantonese.
In this first episode, Dr. Stanley Rosen, a Political Science professor from USC, will discuss what Harvey Weinstein cut in the film when it first reached the US theaters in 1993 and the political significance of 1993 when it was released in mainland China.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingMon, 18 Sep 2023 - 40 - [電影旅神 D’Voyagers Ep.1] 金都 My Prince Edward (2019)
今集透過黃綺琳執導嘅電影作品《金都》(2019)- 透過討論由鄧麗欣飾演張麗芳和男友殷俊榮(朱栢康飾演)的兩性角色:由相愛、生活、求婚到預備結婚中去探討中年港女對生活同生存之間嘅平衡點。而從金都大廈的婚嫁商店中,香港當年的快速文化如何影響我地日常大小決定?
In this episode, we have discussed the film MY PRINCE EDWARD (2019), directed by Norris Wong. The film explores the balance between life and survival for middle-aged Hong Kong women through the characters of Cheung Lai-Fong, played by Stephy Tang, and her boyfriend Yan Chun-wing, played by CHU Pak Hong. It delves into their journey from love, life, and engagement to marriage preparation. Additionally, it examines how the fast-paced culture of Hong Kong in the past has influenced everyday decisions, as seen in the wedding shops of the Golden Plaza.
********
About 電影旅神( D’Voyagers)
在世界某個角落,住著一羣喜歡認真去做無聊事的人。
他們喜歡👀電影 🎞️,食爆谷🍿️
這羣神神化化的人懂得2文3語,又精通具有獨特性的港式社區用語。
用通俗但不低俗方式同各普羅大眾分享對各電影的看法。
但求開心Share🥳,誠邀各善眾👯和我們一起討論電影🎬食爆谷🍿️
A group of people enjoy taking mundane activities seriously in some corners of the world. They love watching movies 🎞️ and eating popcorn 🍿️. These somewhat eccentric individuals are multilingual and well-versed in unique Hong Kong community slang. They share their opinions on various films with the general public in a relatable but not vulgar manner. They aim to spread happiness 🥳 and invite all cinephiles 👯 to discuss movies 🎬 and enjoy popcorn 🍿️ together.
-----------------------
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSun, 17 Sep 2023 - 39 - Ep. 38: Hong Kong Spectral Cinema and the 1997 Turnover [Cantonese]
In this episode, we aimed to explore Hong Kong's spectral cinema from the 1980s - the 2000s, the perception of 1997, and Hong Kong's changing cultural and political identity. During the discussion, the hosts discussed three ghost films, namely Stanley Kwan's ROUGE (胭脂扣,1987), Clara Law's THE REINCARNATION OF GOLDEN LOTUS (潘金蓮的前世金生, 1989) and Fruit Chan's DUMPLINGS (餃子, 2004).
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSat, 16 Sep 2023 - 38 - Ep. 37: On Pang Ho-cheung's DREAM HOME 維多利亞壹號 (Starring Josie Ho) [Cantonese]
In this episode, we have discussed DREAM HOME - which Josie Ho starred in. In the discussion, we have discussed: What is a cult film? What is the most terrifying scene? How is Josie Ho's performance? Is it similar to OVER MY DEAD BODY (死屍死時四十四)and other similar films?
在這一集,我們討論了何超儀主演的《維多利亞壹號》(2010) - 什麼是「邪典」電影?最驚嚇的情節是什麼?何超儀的表演如何?跟《死屍死時四十四》及其他電影有類同嗎?
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 05 Sep 2023 - 37 - Ep. 36: Hong Kong Film History Pt. 4 w/ Po Fung (蒲鋒) 2/2 [Cantonese]
「香港電影史導論 Podcast第四集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第四集「國語影業的邅遞—由左右對立到邵氏電懋的兩強競爭」
在這第四集的podcast, 我們一共分開兩節,每節的主題如下:
4.1 電懋的興衰
4.2 邵氏的興起
討論大網:
1950年代香港的國語片影業左右對立壁壘分明。左派公司有受中共領導的長城、鳳凰公司。右派既有較重意形態的公司像新華和亞洲,也有要進入台灣市場而親台的邵氏和電懋。雖然在政治立場上對立,但兩派影片有很長一段時間都不顯示太過強烈的政治意識,拍的都是以娛樂為主的商業片。國語片漸由財雄勢大的星馬資金公司電懋和邵氏顯出明顯優勢。電懋以摩登色彩的時裝電影領風騷。邵氏起初處於劣勢,後來邵逸夫由星加坡帶來大筆資金,興建影城,拍彩色片,提升製作質素,先後創下黃梅調及武俠片的兩大潮流,到1960年代後期不單在國語片一枝獨秀,甚且粵語片市場也受到相當衝擊和影響。
⭐4.2 邵氏的興起⭐- 邵氏集團的源起之路?不是太多人提及的邵氏粵語片組,早期有那些重要粵語明星?有那些重要的粵語電影?林鳳早期時被戲稱為「作狀王」?為什麼呢?邵氏是從什麼時候開始大展鴻圖呢?邵氏擁有強勁的硬件(影城、資本、市場),大大提高了港片的制作的水準,可惜創作力薄弱,他們又是用什麼方法來彌補這個不足呢?邵氏電影的特色是什麼呢?所塑造的是一個怎樣的理想世界呢?李翰祥是邵氏的開山人物,為何最後會離開邵氏呢?
Outline of Introduction to Hong Kong Film Industry Podcast Part 4
About this series of podcasts, please check here.
Part 4: Left-Right Opposition and the Competition of the Two Titans
In this fourth episode of the podcast, we have two segments, each focusing on the following topics;
4.1 The Rise and Fall of MP & GI
4.2 The Rise of Shaw Bros
Outline:
Mandarin Film Industry’s Progress: From Left and Right Opposition to the Competition of Industry Titans “Shaw Bros” and “MP & GI”
In the 1950s, Hong Kong’s Mandarin Film Industry’s right and left parties became increasingly diametrically opposed. Leftist companies like the “Great Wall Movie Enterprise” and “Phoenix Motion Enterprise” received support from the leaders of the Chinese Communist Party. While companies that appeared more rightist included “Hsin Hwa Motion Pictures” and “Asia Film Company.” Amongst them were companies that sought to enter and endear themselves to the Taiwanese market, including the “Shaw Bross” and “MP & GI” (also known as Cathay Organization).
Although their political stances were seemingly oppositional, both sides had for a long period where few films openly displayed any political messages-- most movies filmed were commercial features focused foremost on entertainment.
The superiority of Mandarin films gradually became clear through the abundant wealth and influence of Singaporean and Malaysian capital put into companies like “MP & GI” and “Shaw Brothers.”
“MP & GI” use of modern and fashionable films were heavily praised. “Shaw Bros,” on the other hand, was at first less favorably received. Run Run Shaw later acquired a large amount of Singaporean capital to build theaters, produce colored films, raise the manufacturing quality of the industry, and successively established Huangmei Opera and Wuxia as two of the largest film trends.
By the 1960s, these companies were superior within the Mandarin Film Market, and their impact and influence could also be seen in the Cantonese Film Market.
⭐4.2:The Rise of Shaw Bros⭐
In the fourth episode, the second section, we primarily discussed:- What was the origin of the Shaw Bros Group?Regarding the Shaw Bros Cantonese film division, which important Cantonese-speaking stars were active in its early days? What were the significant Cantonese-language films?Why was Patricia Lam Fung jokingly called the "Queen of Gestures" early on?When did Shaw Bros. begin to make significant strides?Shaw Bros possessed a robust infrastructure (film studios, capital, market), significantly elevating the production quality of Hong Kong cinema. Unfortunately, they had weak creative capacity. How did they address this deficiency?What were the distinctive features of the Shaw Bros' films? What kind of ideal world did they portray?Li Han-Hsiang was a pivotal figure at Shaw Bros. Why did he eventually leave the studio?
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Powered by Firstory HostingWed, 30 Aug 2023 - 36 - Ep. 35: Hong Kong Film History Pt. 4 w/ Po Fung (蒲鋒) 1/2 [Cantonese]
「香港電影史導論 Podcast第四集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第四集「國語影業的邅遞—由左右對立到邵氏電懋的兩強競爭」
在這第四集的podcast, 我們一共分開兩節,每節的主題如下:
4.1 電懋的興衰
4.2 邵氏的興起
討論大網:
1950年代香港的國語片影業左右對立壁壘分明。左派公司有受中共領導的長城、鳳凰公司。右派既有較重意形態的公司像新華和亞洲,也有要進入台灣市場而親台的邵氏和電懋。雖然在政治立場上對立,但兩派影片有很長一段時間都不顯示太過強烈的政治意識,拍的都是以娛樂為主的商業片。國語片漸由財雄勢大的星馬資金公司電懋和邵氏顯出明顯優勢。電懋以摩登色彩的時裝電影領風騷。邵氏起初處於劣勢,後來邵逸夫由星加坡帶來大筆資金,興建影城,拍彩色片,提升製作質素,先後創下黃梅調及武俠片的兩大潮流,到1960年代後期不單在國語片一枝獨秀,甚且粵語片市場也受到相當衝擊和影響。
4.1 電懋的興衰- 電懋是怎樣興起?主事人陸運濤是什麼人呢?電懋的電影有什麼特色?電懋最好的電影是那一部?電懋為何衰落?有什麼明星?電懋有那幾位重要的電影人?有什麼推薦的電影?
Outline of Introduction to Hong Kong Film Industry Podcast Part 4
About this series of podcasts, please check here.
Part 4: Left-Right Opposition and the Competition of the Two Titans
In this fourth episode of the podcast, we have two segments, each focusing on the following topics;
4.1 The Rise and Fall of MP & GI
4.2 The Rise of Shaw Bros
Outline:
Mandarin Film Industry’s Progress: From Left and Right Opposition to the Competition of Industry Titans “Shaw Bros” and “MP & GI”
In the 1950s, Hong Kong’s Mandarin Film Industry’s right and left parties became increasingly diametrically opposed. Leftist companies like the “Great Wall Movie Enterprise” and “Phoenix Motion Enterprise” received support from the leaders of the Chinese Communist Party. While companies that appeared more rightist included “Hsin Hwa Motion Pictures” and “Asia Film Company.” Amongst them were companies that sought to enter and endear themselves to the Taiwanese market, including the “Shaw Bross” and “MP & GI” (also known as Cathay Organization).
Although their political stances were seemingly oppositional, both sides had for a long period where few films openly displayed any political messages-- most movies filmed were commercial features focused foremost on entertainment.
The superiority of Mandarin films gradually became clear through the abundant wealth and influence of Singaporean and Malaysian capital put into companies like “MP & GI” and “Shaw Brothers.”
“MP & GI” use of modern and fashionable films were heavily praised. “Shaw Bros,” on the other hand, was at first less favorably received. Run Run Shaw later acquired a large amount of Singaporean capital to build theaters, produce colored films, raise the manufacturing quality of the industry, and successively established Huangmei Opera and Wuxia as two of the largest film trends.
By the 1960s, these companies were superior within the Mandarin Film Market, and their impact and influence could also be seen in the Cantonese Film Market.
4.1 Rise and Fall of MP & GI
In the fourth episode, the first section, we mainly discussed:- How did MP & GI rise to prominence?Who is the key figure, Loke Wan Tho?What are the distinctive features of MP & GImovies?Which is the best movie produced by MP & GI?Why did MP & GI decline?Are there any notable celebrities involved?Who are the important figures in the MP & GI film industry?Any recommended movies?
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Powered by Firstory HostingWed, 23 Aug 2023 - 35 - Ep. 34: Frank Djeng on Bruce Lee's ENTER THE DRAGON 50th Anniversary [Cantonese]
[HKOS Podcast]
李小龍逝世50周年,香港歷史上第一部與美國主流要電影廠合資攝製的《龍爭虎鬥》在李小龍逝世後的一個月在全美上映,轟動一時,票房在當年排名13 (1973全年排名)。李小龍也是首位華人在荷里活電影裡面擔正第一男主角,更影響了整個功夫電影在世界電影史的發展和地位。
可惜,他生前看不到他的成就和影響,8月13日和8月16日,擁有《龍爭虎鬥》版的華納會舉行全美放映活動,上映的版本為全新4K修復版。請不要錯過可以在大銀幕看到一代巨星李小龍的遺作了。
「The Hong Kong On ScreenPodcast」在這一集特別邀請了香港電影專家Frank Djeng討論了:- 為何美國會這麼重視這部電影呢?西方一致認為《猛龍過江》為李小龍最好的電影,但香港一般認為前三部都比這部好,為什麼呢?有說李小龍在設計武打時,刻意迎合西方觀眾,究竟什麼是迎合西方品味呢?有什麼片段被删呢?《猛龍過江》有什麼特別呢?李小龍最好的電影是什麼呢?
On the 50th anniversary of Bruce Lee's passing, the first Hong Kong film co-produced with a major American film studio, "Enter the Dragon," was released nationwide in the United States one month after his death, causing a sensation and ranking 13th in the box office for the year in 1973. Bruce Lee became the first Chinese actor to play the lead role in a Hollywood film, significantly influencing the development and status of martial arts films in world cinema history.
Unfortunately, he couldn't witness his achievements and influence during his lifetime. On August 13th and August 16th, Warner Bros. owns the film "Enter the Dragon," which will hold nationwide screenings of the newly restored 4K version. Don't miss the opportunity to see the final work of the legendary Bruce Lee on the big screen.
"The Hong Kong On Screen Podcast" in this episode has invited Hong Kong film expert Frank Djeng to discuss:- Why does the United States value this film so much? While Western audiences generally regard "Enter the Dragon" as Bruce Lee's best film, Hong Kong audiences believe the first three films are better. Why is that? It's been said that Bruce Lee intentionally catered to Western audiences when designing martial arts choreography. What exactly constitutes catering to Western tastes? Which scenes were deleted? What makes "Enter the Dragon" special? What is Bruce Lee's best film?
Follow the hosts:
Kay Ho's Instagram: @kayho1430
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingWed, 09 Aug 2023 - 34 - Ep. 33: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 5/5 [Cantonese]
「香港電影史導論 Podcast第三集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第三集:「中聯作為電影運動對粵語片的變革作用」
在這第三集的podcast, 我們一共分開五節,每節的主題如下:- 廈語片/ 潮語片的發展和特色 (Ep. 29);中聯影業成立的原因和創作理念 (Ep. 30);中聯的發展和其代表作 (Ep. 31);中聯的影響和著名明星 (Ep. 32);中聯如何令粵語戲曲片誕生(Ep. 33)。
討論大網:
香港影業除了政治的左右對壘,還有國粵語兩個相對獨的影壇,各有其特色和發展。其實香港除了有國粵語片之外,還有鮮為人知的廈語片及潮語片生產,出口多個東南亞有華僑的國家,其文化影響力遠比一般人所知為廣。
戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司,但它實際上是一個左派電影運動,用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠,除了衍生出多家理念上類似的影片公司,它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流,都有著重大貢獻,即使到六十年代後期中聯結束後,其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜,它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。
Outline of Introduction to Hong Kong Film Industry Podcast Part 3
About this series of podcasts, please check here.
Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films
In this third episode of the podcast, we have five segments, each focusing on the following topics;- The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33).
Episodes Outline:
Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s.
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 08 Aug 2023 - 33 - Ep. 32: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 4/5 [Cantonese]
「香港電影史導論 Podcast第三集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第三集:「中聯作為電影運動對粵語片的變革作用」
在這第三集的podcast, 我們一共分開五節,每節的主題如下:- 廈語片/ 潮語片的發展和特色 (Ep. 29);中聯影業成立的原因和創作理念 (Ep. 30);中聯的發展和其代表作 (Ep. 31);中聯的影響和著名明星 (Ep. 32);中聯如何令粵語戲曲片誕生(Ep. 33)。
討論大網:
香港影業除了政治的左右對壘,還有國粵語兩個相對獨的影壇,各有其特色和發展。其實香港除了有國粵語片之外,還有鮮為人知的廈語片及潮語片生產,出口多個東南亞有華僑的國家,其文化影響力遠比一般人所知為廣。
戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司,但它實際上是一個左派電影運動,用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠,除了衍生出多家理念上類似的影片公司,它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流,都有著重大貢獻,即使到六十年代後期中聯結束後,其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜,它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。
Outline of Introduction to Hong Kong Film Industry Podcast Part 3
About this series of podcasts, please check here.
Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films
In this third episode of the podcast, we have five segments, each focusing on the following topics;- The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33).
Episodes Outline:
Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s.
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSun, 30 Jul 2023 - 32 - Ep. 31: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 3/5 [Cantonese]
「香港電影史導論 Podcast第三集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第三集:「中聯作為電影運動對粵語片的變革作用」
在這第三集的podcast, 我們一共分開五節,每節的主題如下:- 廈語片/ 潮語片的發展和特色 (Ep. 29);中聯影業成立的原因和創作理念 (Ep. 30);中聯的發展和其代表作 (Ep. 31);中聯的影響和著名明星 (Ep. 32);中聯如何令粵語戲曲片誕生(Ep. 33)。
討論大網:
香港影業除了政治的左右對壘,還有國粵語兩個相對獨的影壇,各有其特色和發展。其實香港除了有國粵語片之外,還有鮮為人知的廈語片及潮語片生產,出口多個東南亞有華僑的國家,其文化影響力遠比一般人所知為廣。
戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司,但它實際上是一個左派電影運動,用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠,除了衍生出多家理念上類似的影片公司,它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流,都有著重大貢獻,即使到六十年代後期中聯結束後,其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜,它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。
Outline of Introduction to Hong Kong Film Industry Podcast Part 3
About this series of podcasts, please check here.
Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films
In this third episode of the podcast, we have five segments, each focusing on the following topics;- The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33).
Episodes Outline:
Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s.
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSat, 15 Jul 2023 - 31 - Ep. 30: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 2/5 [Cantonese]
「香港電影史導論 Podcast第三集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第三集:「中聯作為電影運動對粵語片的變革作用」
在這第三集的podcast, 我們一共分開五節,每節的主題如下:- 廈語片/ 潮語片的發展和特色 (Ep. 29);中聯影業成立的原因和創作理念 (Ep. 30);中聯的發展和其代表作 (Ep. 31);中聯的影響和著名明星 (Ep. 32);中聯如何令粵語戲曲片誕生(Ep. 33)。
討論大網:
香港影業除了政治的左右對壘,還有國粵語兩個相對獨的影壇,各有其特色和發展。其實香港除了有國粵語片之外,還有鮮為人知的廈語片及潮語片生產,出口多個東南亞有華僑的國家,其文化影響力遠比一般人所知為廣。
戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司,但它實際上是一個左派電影運動,用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠,除了衍生出多家理念上類似的影片公司,它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流,都有著重大貢獻,即使到六十年代後期中聯結束後,其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜,它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。
Outline of Introduction to Hong Kong Film Industry Podcast Part 3
About this series of podcasts, please check here.
Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films
In this third episode of the podcast, we have five segments, each focusing on the following topics;- The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33).
Episodes Outline:
Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s.
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingThu, 13 Jul 2023 - 30 - Ep. 29: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 1/5 [Cantonese]
「香港電影史導論 Podcast第三集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第三集:「中聯作為電影運動對粵語片的變革作用」
在這第三集的podcast, 我們一共分開五節,每節的主題如下:- 廈語片/ 潮語片的發展和特色 (Ep. 29);中聯影業成立的原因和創作理念 (Ep. 30);中聯的發展和其代表作 (Ep. 31);中聯的影響和著名明星 (Ep. 32);中聯如何令粵語戲曲片誕生(Ep. 33)。
討論大網:
香港影業除了政治的左右對壘,還有國粵語兩個相對獨的影壇,各有其特色和發展。其實香港除了有國粵語片之外,還有鮮為人知的廈語片及潮語片生產,出口多個東南亞有華僑的國家,其文化影響力遠比一般人所知為廣。
戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司,但它實際上是一個左派電影運動,用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠,除了衍生出多家理念上類似的影片公司,它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流,都有著重大貢獻,即使到六十年代後期中聯結束後,其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜,它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。
Outline of Introduction to Hong Kong Film Industry Podcast Part 3
About this series of podcasts, please checkhere.
Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films
In this third episode of the podcast, we have five segments, each focusing on the following topics;- The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33).
Episodes Outline:
Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s.
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSun, 09 Jul 2023 - 29 - Ep. 28: On LOST LOVE (流水落花) with director Ka Sing-Fung (賈勝楓)[Cantonese]
在這一集,很開心可以跟賈勝楓導演深度討論他的第一部劇情電影《流水落花》,導演是如何從文字說故事轉變以影像來說故事呢?從拍攝短片到製作長片的挑戰是什麼呢?對社會的關注、基層的關懷和寫實的風格是不是得到政府資助的秘訣呢?賈導演跟其他新導演的關係?導演跟編劇是如何塑造天美姨姨這個角色呢?7個小朋友的故事是如何豐富天美姨姨這個人物和影響她跟丈夫的關係呢?最難拍的是那一節呢?煙和其他食物在電影的有特殊意義嗎?
In this episode, I'm delighted to deeply discuss with Director Ka Sing-Fung his debut feature film "LOST LOVE." How did the director transition from telling stories through text to telling stories through visuals? What were the challenges of moving from making short films to a full-length feature? Did the focus on society, grassroots concerns, and realistic style contribute to government funding? What is the director's relationship with other emerging directors? How did the director and screenwriter shape the character of Aunt Tin Mei? How did the seven children's stories enrich Aunt Tin Mei’s character and impact her marital relationship? Which scene was the most challenging to film? Do cigarettes and other food items hold special significance in the movie?
Follow the host:
Kay Ho's Instagram: kayho1430
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 04 Jul 2023 - 28 - Ep. 27: Special: Reaction to The Sparring Partner [Cantonese]
Our guest host Vivi offers an interpretation of The Sparring Partner 正義迴廊 (2022) from a 100% Hong Kong people's perspective.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/hkonscreen/comments
Powered by Firstory HostingThu, 15 Jun 2023 - 27 - Ep. 26: Hong Kong Film History Pt. 2 w/ Po Fung (蒲鋒)[Cantonese]
二次大戰結束,香港重光,中國則很快陷入國共內戰。儘管香港不受政權更替所影響,但是中國政治的變遷卻對香港影業有著間接但強大的影響。在戰爭時留滬的上海影人被視為漢奸而避禍香港。資本雄厚的永華公司也因香港局勢較穩而在香港建立。國共都想在香港發揮影響力,在鬥爭中造成左派右派兩大陣營,在冷戰階段構成香港影業的基本格局。
Following the end of World War Two, Hong Kong was liberated from the Japanese occupation while China was embroiled in the Chinese Civil War between the Kuomintang (KMT) government and forces of the Chinese Communist Party (CCP). Despite being unscathed by the regime changes, the shift in the Chinese political landscape had a determining but indirect influence on Hong Kong’s film industry. During the Civil War, many Shanghai filmmakers sought refuge in Hong Kong because they were considered traitors to the regime. The well-capitalized company, Wing-Wah, also established its foundation in Hong Kong due to its relative political stability. During the Cold War, KMT and CCP tried to expand their reach to Hong Kong. The conflict between the two camps consolidated the leftist-rightist dichotomy as the basic structure of the Hong Kong film industry.
Movies Mentioned in this episode:
這一集中提到的電影:- Orphan Island Paradise 孤島天堂 (1939) Twin Sisters of the South 南國姊妹花 (1939)The Rich House 蓬門碧玉 (1942) Bitter Phoenix, Sorrowful Oriole 苦鳳鶯憐 (1947)The White Gold Dragon, Part Two (aka The Platinum Dragon, Part Two) 續白金龍 (1937)Tradition 傳統 (1955)Wintry Journey 冬去春來 (1950)Dawn must come 珠江淚 (1950)Fishermen’s Song of the South Sea 南海漁歌 (1950)Sorrows of the Forbidden City 清宮秘史(1948)The 72 Martyrs of Canton 碧血黃花 (1954)General Chai and Lady Balsam 小鳳仙 (1953)The Dawn of China’s Revolution 秋瑾 (1953)To My Wife 百年情書 (2011)To My Wife 與妻書 (2012)Festival Moon 中秋月 (1953) The Peerless Beauty 絕代佳人 (1953)Three Charming Smiles 三笑 (1964)The Wedding Night 新婚第一夜 (1956)The Eternal Love 同命鴛鴦 (1960)Laugh, Clown, Laugh 笑笑笑 (1960)
Follow the hosts:
Kay Ho's Instagram: kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingThu, 01 Jun 2023 - 26 - Ep. 25: Dora Choi (徐岱靈) on TO BE CONTINUED (尚未完場) [Cantonese]
This episode features a conversation between an HKOS member and the co-director of TO BE CONTINUED, who is also the Co-founder of 'Walk in Hong Kong", Dora Choi. They discuss the documentary's origins and her team’s discoveries on Harry Odell, the forgotten impresario of Hong Kong. Odell, a Shanghai-bred Russian Jew, left a significant impact on the cultural life of post-war Hong Kong. Dora believes that this movie is just the beginning of the writing of Hong Kong’s cultural history, and she encourages people from Hong Kong to continue the spirit of Odell, embarking on a soul-searching journey to define what truly makes Hong Kong unique.
Film Mentioned:- To BE CONTINUED 尚未完場 (2022)From Mao to Mozart: Isaac Stern in China 從毛澤東到莫扎特 (1981)
You can also check the list on letterboxd: https://letterboxd.com/hkonscreen/list/movies-mentioned-episode-25/
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSat, 20 May 2023 - 25 - Ep. 24: Sammo Hung Retrospective at Academy Museum w/ Patrick Lowry and Lindy Leong [English]
This episode features a conversation between HKOS member Lindy Leong and AMPAS Museum's Patrick Lowry on the Sammo Hung (洪金寶): From Stuntman to Star retrospective running throughout May 2023 as part of the museum's AAPI Heritage Month programming. They discuss the genesis of the retrospective, his personal admiration and fandom for the HK action cinema icon, the museum's interest in supporting Hong Kong cinema as part of its programming, HKOS' desire for collaboration to serve the diaspora in the Greater LA area and beyond, and its ongoing search for its identity as an all-volunteer run collective, the curatorial rationale and logistical challenges of putting together the film series, including a deeper dive into the significance of each film title in the retrospective. They encourage film fans of the HK icon to attend the film series as it is a rare opportunity to see most of these films on the big screen in the US.
Films Mentioned:
Features
The Millionaires' Express富貴列車 (1986) - Digital
Pedicab Driver 群龍戲鳳 (1989) - 35mm English dubbed print
Wheels on Meals 快餐車 (1984) - DCP
Dragons Forever 飛龍猛將(1988) - DCP
Project AA計劃 (1984) - DCP
Painted Faces 七小福 (1988) - 35mm print courtesy of the Academy Film Archive
Eastern Condors東方秃鷹 (1987) - 35mm print courtesy of the Academy Film Archive
Odd Couple 搏命單刀奪命搶 (1979) - brand-new DCP restoration
Skinny Tiger and Fatty Dragon 瘦虎肥龍 (1990) - brand-new DCP restoration
She Shoots Straight 皇家女將 (1990) - 35mm print courtesy of the Academy Film Archive.
License to Steal 龍鳳賊捉賊 (1990) - 35mm print
Mr. Nice Guy 一個好人 (1997) - 35mm print
You can also check the list on letterboxd: https://letterboxd.com/hkonscreen/list/movies-mentioned-episode-24/
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingWed, 17 May 2023 - 24 - Ep. 23: Interview w/ a New Hong Kong Film Distributor in the US [Cantonese]
在這一集的podcast,我們訪問了一個在美國新成立的香港電影發行商。訪問中談及他們的背景以及過往的放映經驗,然後他們是如何從獨立包場放映到正式踏入發行商這一行呢?當中的挑戰是什麼呢?然後在發行了第一部電影——《1人婚禮》之後,他們有什麼感想呢?他們又有什麼計劃呢?最後,我們還談到美國發行香港電影的路能夠如何走下去呢?
In this podcast episode, we interviewed a newly established Hong Kong film distributor in the United States. During the interview, we talked about their background and past screening experience and then how did they go from private screenings to officially entering the distributorship? What are the challenges when distributing their first film - SAY I DO TO ME? And how did they feel after releasing the first movie? What are their plans? Finally, we also talked about how to go on the road of distributing Hong Kong movies in the United States.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingFri, 28 Apr 2023 - 23 - Ep. 22: Hong Kong Film History Pt. 1 w/ Po Fung (蒲鋒)[Cantonese]
2009年香港政府曾大張旗鼓舉辦了多項慶祝香港電影100年的活動,最有意義也最反諷的一項活動是香港電影資料館在年底舉辦的一次學術研討會,因為有學者在會上提出有力證據,一百年之前的1909年那一年並沒有拍出第一部香港電影,第一部香港電影應該出現在1914年。第一部香港電影的討論是件既有趣也深具啟發性的歷史考據。出現了第一部電影並不等於會出現一個興旺的影業。香港能在1930年代發展出一個僅次於上海的華語電影影業,實受著中國政治、經濟、文化等因素強烈影響,其中邵氏兄弟又起著至今還未被足夠認真看待的重要作用。
The Hong Kong government commemorated the centenary of the Hong Kong cinematic industry with a range of activities in 2019. Perhaps the most significant yet ironic event was the academic symposium held by the Hong Kong Film Archive at the end of the year. In the symposium, a scholar presented concrete evidence to challenge the long-held consensus that the first Hong Kong film was produced in 1909. Instead, the scholar suggested the first film was produced five years later, in 1914. This discussion was an exciting and thought-provoking example of a scholarly endeavor in Hong Kong’s cinematic history.
While the first film marked a milestone in Hong Kong history, it did not suggest the industry was vibrant during the initial stage. In the 1930s, Hong Kong finally established its Mandarin film industry, only second to Shanghai. Its development could be attributed to various factors, including Chinese politics, economy, and culture. In part, Shaw Brothers Studio, a local film production company, played an influential yet less-known role in the industry.
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingThu, 27 Apr 2023 - 22 - Ep. 21: HKOSFF Festival Line-Up w/ Lindy [English]
This episode features a conversation between HKOS Podcast host and film and media educator/film programmer/film archivist Lindy Leong about the HKOSFF festival line-up. They discuss the origin, mission, and goals of HKOS and how this inaugural film festival (being held on April 28th-30th, 2023, at the Starlight Whittier Village Cinemas) aspires to offer an important platform for HK independent cinema while celebrating the incredible legacy of Hong Kong cinema, as best exemplified by the 20th Anniversary tribute to HK icons Leslie Cheung and Anita Mui. An overview of each festival day is provided with some insights into the features and the shorts showcase.
For the box office: please check here: https://www.hkonscreen.org/festival/schedule.
如果你想聽有關電影節的廣東話介紹,請聽AM1430日落大道 2023年4月14日的節目聲音重溫或者Youtube 重溫。
Films Mentioned:
Features
Rouge 胭脂扣(1987) - 4K Restoration
Nomad 烈火青春(1982) - 4K Restoration
The Heroic Trio 東方三俠 (1993)
Days of Being Wild 阿飛正傳 (1990) - 4K Restoration
Happy Together (1997)春光乍洩 - 4K Restoration
The Narrow Road 窄路微塵(2022)
Made in Hong Kong 香港製造 (1997) - 4K Restoration
The Sparring Partner 正義迴廊 (2022)
To Be Continued 尚未完場 / The Entrepot 中轉站 (both 2022)
The Sunny Side of the Street 白日青春 (2022)
Shorts 短片:
Three Rivers for a Fish 迴游
By 3 pm 下午三點
The Outlanders - From HKG to SEA
Blue Hour 第一晚
White Night 天暗亦日月
Night is Young 夜更
You can also check the list on letterboxd: https://letterboxd.com/hkonscreen/list/movies-mentioned-episode-21/
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 18 Apr 2023 - 21 - Ep. 20: Interview with Ho Cheuk-Tin, Director of The Sparring Partner [Cantonese]
Interview with film director Ho Cheuk-Tin (何爵天). We chatted about how he started working in cinema and how his first feature film The Sparring Partner 正義迴廊 (2022) came into being. He also discussed the aesthetic style as well as the reception of the film.
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 14 Mar 2023 - 20 - Ep. 19: A conversation with Frank Djeng on the Criterion Channel's Michelle Yeoh Kicks Ass Series [Cantonese]
This episode features a conversation between the HKOS Podcast host and Asian film expert Frank Djeng. The discussion started with the new film series on The Criterion Channel - Michelle Yeoh Kicks Ass. With Michelle Yeoh having a banner year, Criterion has put together a series of eight films that display her action prowess, featuring, Yes, Madam! (皇家師姐)(1985), Royal Warriors(皇家戰戰士)(1986), Magnificent Warriors(中華戰士) (1987), Police Story 3: Supercop(警察故事3:超級警察) (1992), The Heroic Trio(東方三俠) (1993), Executioners (現代豪俠傳) (1993), The Stunt Woman (阿金) (1996), and of course, Crouching Tiger, Hidden Dragon (臥虎藏龍 ) (2000). After highlighting the key features of the eight films, their talks branch out to address other topics, including the best films of Michelle Yeoh and Frank's favorite.
Watch the Teaser here:https://youtu.be/qjeMSZxpMvU
Movies mentioned in this episode:https://letterboxd.com/hkonscreen/list/movies-mentioned-episode-19/
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 07 Mar 2023 - 19 - Ep. 18: Interview with new generation filmmaker: Twinkle Ngan (II) [Cantonese]
The second interview with Twinkle Ngan, director of Love in the Time of Revolution (因為愛所以革命, 2022). We discussed his "fictional film" approach in making this documentary and the kind of love that he portrayed in the film. Twinkle shared some more stories about the difficulties and experiences in shooting, producing, and exhibiting this film.
給香港的「手足電影」--專訪 <因為愛所以革命> 導演顏志昇
我們討論了用劇情片來組織紀錄片會不會不夠克制,還是呈現了影片作為「手足電影」更真實的情感經驗。影片對「愛」和「革命」提出了什麼樣的理解,這種愛在運動中表現為何種行動倫理?阿昇更非常坦誠地分享了自己作為一個素人導演,影片從拍攝到發行所遇到的種種困難。
For more conversations like this one, subscribe to Hong Kong On Screen on Apple Podcasts, Spotify, or wherever you listen to podcasts.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSat, 18 Feb 2023 - 18 - Ep. 17: Interview with new generation filmmaker: Twinkle Ngan (I) [Cantonese]
In today’s episode, we spoke with Twinkle Ngan, director of Love in the Time of Revolution (2022) (因為愛所以革命,2022). He shared his experience in making his first documentary, his screenings experience, and his thoughts on other Hong Kong documentaries about the 2019-2020 protests.
This post is based on an episode of the Hong Kong Podcast with Twinkle Ngan. For more conversations like this one, subscribe to Hong Kong On Screen on Apple Podcasts, Spotify, or wherever you listen to podcasts.
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingMon, 06 Feb 2023 - 17 - Ep. 16: Interview with Hong Kong Film Music Composer Anthony Chue [English]
Interview with film music composer Anthony Chue (褚鎮東). We chatted about the opportunities and industry practices for film music composition in Hong Kong, followed by some more in-depth discussion of Chue's style in the movies Divergence 三岔口 (2005, dir. Benny Chan) and All About Love 得閒炒飯 (2010, dir. Ann Hui). He also discussed how working in films influenced his work in Cantopop.
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSat, 21 Jan 2023 - 16 - Ep. 15: Ten Years with Prof. Joseph Lee [English]
With special guest Prof. Joseph Lee, we put on a spirited defense of the seminal anthology film Ten Years, in terms of its artistic merit, political themes, and widespread legacy.
The shorts:
Extras〈浮瓜〉
Season of the End〈冬禪〉
Dialect〈方言〉
Self-Immolator〈自焚者〉
Local Egg〈本地蛋〉
The Ten Years films:
Ten Years
Ten Years Thailand
Ten Years Japan
Ten Years Taiwan
Other films mentioned:
Port of Call《踏血尋梅》
Good Take!
Septet: the Story of Hong Kong《七人樂隊》
She Remembers, He Forgets《哪一天我們會飛》
Schindler’s List
The Dark Knight
Warriors of Future《明日戰記》
Plan 75
Beyond the Dream《幻愛》
Revolution of Our Times《時代革命》
Far Far Away《緣路山旮旯》
Hong Kong Connection《鏗鏘集》
Center Stage《阮玲玉》
Parasite
Joshua: Teenager vs. Superpower
Lost in the Fumes《地厚天高》
Blue Island《憂鬱之島》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSat, 21 Jan 2023 - 15 - Ep. 14: Distributing Hong Kong Protest Films in the U.S. [English]
We continue our discussion of the landmark documentary Revolution of Our Times with a team member behind its U.S. distribution, Anna Kwok from the Hong Kong Democracy Council (HKDC). We share lessons learned behind the film’s successful global simulcast and failed Oscar campaign, and talk about cinema’s role in building diaspora and healing collective trauma.
Movies mentioned:
Revolution of Our Times《時代革命》
Ten Years《十年》
Inside the Red Brick Wall《理大圍城》
Taking Back the Legislature《佔領立法會》
Blue Island《憂鬱之島》
Table for Six《飯戲攻心》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingWed, 21 Dec 2022 - 14 - Ep. 13 Kiwi Chow and His Movies (II) [Cantonese]
Continued the talk with director Kiwi Chow (周冠威)! We focus on the structure of his documentary REVOLUTION OF OUR TIME (時代革命) and the production condition of independent Hong Kong cinema.
Movies mentioned in this episode: https://letterboxd.com/hkonscreen/list/move-mentioned-episode-12-13/
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingWed, 23 Nov 2022 - 13 - Ep. 12 Kiwi Chow and His Movies (I) [Cantonese]
New interview with director Kiwi Chow (周冠威)! We discuss his documentary REVOLUTION OF OUR TIME (時代革命) in depth, bringing attention to Chow’s creative urgency and strategy in making the film, as well as the relation between the documentary and Chow’s earlier piece, THE SELF-IMMOLATOR (自焚者) in TEN YEARS (十年).
Movies mentioned in this episode: https://letterboxd.com/hkonscreen/list/move-mentioned-episode-12-13/
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comment.s
Powered by Firstory HostingWed, 23 Nov 2022 - 12 - Ep. 11: SDAFF with Brian Hu [English]
In this special episode with our guest Brian Hu, the Artistic Director of the San Diego Asian Film Festival (SDAFF) (https://sdaff.org/2022/), we talk about the selections of Hong Kong films in the 23rd edition of the SDAFF and the legendary moment of the screening of Hong Kong films in SDAFF. Listen to his podcast on Asian American film history "Saturday School" (https://soundcloud.com/saturdayschoolpodcast).
This year's SDAFF will start on Nov 3. The Hong Kong Club and Hongkongers in San Diego are the co-presenters of the following films:- Detective vs. Sleuths 神探大戰Mama's Affair阿媽有左第二個The Narrow Road窄路微塵Septet: The Story of Hong Kong 七人樂隊Blue Island 憂鬱之島
Receive $2 off per ticket on these five films with the promo code - HK2022.
Movies Mentioned:
Inside the Red Brick Wall 《理大圍城》
Septet: The Story of Hong Kong 《神探大戰》
Detective vs. Sleuths 《阿媽有左第二個》
Mama's Affair 《窄路微塵》
The Narrow Road 《七人樂隊》
Blue Island 《憂鬱之島》
The Heroic Trio 《東方三俠》
Executioners 《現代豪俠傳》
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 01 Nov 2022 - 11 - Ep. 10: Conversation with “Keep Rolling” Directors (II) [Cantonese]
“Keep Rolling” is an independent filmmaking project organized by Ying E Chi (http://yingechi.org/about/), a non-profit organization in Hong Kong that supports the making of independent films. With the changing conditions of freedom of speech in Hong Kong, they have lost their biggest operational fund from the government.
Ying E Chi has recently completed the independent film project “Keep Rolling” with the support of Goethe-Institut. It consists of four short films – SAME BOAT, RUBBISH BAN, A LETTER FROM PRISON, and APRIL’S INTERLUDE. In addition, Hong Kong On Screen (HKOS) has just presented a special in-person screening on Saturday, October 29, 2022, at Laemmle Glendale. Thanks to all who came out to watch and celebrate the films and filmmaking talents with us!
The HKOS Podcast welcomed the directors of “Keep Rolling” to continue the conversation. In this episode, we discussed the parts of their lives they drew on to tell these stories, the meanings of the shorts, the message they wanted to tell, and other details in their creative process.
Director
羅恩賜 Lo Yan Chi 周敬勤 Chow King Kan Kingston 姚敏堃 Yiu Man Kwan Jason 郭頌儀 Kwok Chung Yee Erica
Movies mentioned:
“A Letter from Prison” 〈第一封信〉
“Same Boat” 〈同渡〉
“Rubbish Ban” 〈阿才〉
“April’s Interlude” 〈四月的變奏〉
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingThu, 27 Oct 2022 - 10 - Ep. 9: Conversation with “Keep Rolling” Directors (I) [Cantonese]
“Keep Rolling” is an independent filmmaking project organized by Ying E Chi (http://yingechi.org/about/), a non-profit organization in Hong Kong that supports the making of independent films. With the changing conditions of freedom of speech in Hong Kong, they have lost their biggest operational fund from the government.
Ying E Chi has recently completed the independent film project “Keep Rolling” with the support of Goethe-Institut. It consists of four short films – SAME BOAT, RUBBISH BAN, A LETTER FROM PRISON, and APRIL’S INTERLUDE. Hong Kong On Screen (HKOS) will present an in-person screening on Saturday, October 29, at 10:00 AM at Laemmle Glendale. Ticket info: https://www.laemmle.com/film/keep-rolling
Hong Kong On Screen welcomed the directors of “Keep Rolling” for a Podcast about their new shorts, their filmmaking background, difficulties in making the shorts, thoughts on Hong Kong’s independent film development, and much more.
Director
羅恩賜 Lo Yan Chi 周敬勤 Chow King Kan Kingston 姚敏堃 Yiu Man Kwan Jason 郭頌儀 Kwok Chung Yee Erica
Movies mentioned:
“A Letter from Prison” 〈第一封信〉
“Same Boat” 〈同渡〉
“Rubbish Ban” 〈阿才〉
“April’s Interlude” 〈四月的變奏〉
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments.
Powered by Firstory HostingThu, 20 Oct 2022 - 9 - Ep. 8: Reaction to Far Far Away [Cantonese]
After our screening of Amos Why's Far Far Away, we discuss the dramaturgy, gender politics, and visual approach of the micro-budget box office miracle.
Movies mentioned:
Far Far Away《緣路山旮旯》
Memories to Choke on, Drinks to Wash Them Down《夜香・鴛鴦・深水埗》
Drifting《濁水漂流》
Beyond the Dream《幻愛》
The Romancing Star《精裝追女仔》
Mad World《一念無明》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSat, 15 Oct 2022 - 8 - Ep. 7: “Keep Rolling” by Ying E Chi [Cantonese]
With our special guest Vincent Chui, the Artistic Director of Ying E Chi (https://yingechi.org/), we discuss their recent independent film project “Keep Rolling”. For more info about the project, please visit https://www.hkonscreen.org/rolling.
Movies mentioned:
Keep Rolling《好好拍電影》
May You Stay Forever Young《少年》
Inside the Red Brick Wall《理大圍城》
Taking Back the Legislature《佔領立法會》
“A Letter from Prison”〈第一封信〉
“Same Boat”〈同渡〉
“Rubbish Ban”〈阿才〉
“April's Interlude”〈四月的變奏〉
To My Nineteen-Year-Old Self《給十九歲的我》
Oldboy (2013) 《老男孩》
Oldboy (2003) 《原罪犯》
Brokeback Mountain《斷背山》
Made In Hong Kong《香港製造》
Revolution of Our Times《時代革命》
Detective vs. Sleuths《神探大戰》
Mama’s Affair《阿媽有左第二個》
Check out the movies we mentioned on Letterboxd: https://letterboxd.com/hkonscreen/list/movies-mentioned-episode-4/
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comment.s
Powered by Firstory HostingMon, 10 Oct 2022 - 7 - Ep. 6: Reaction to Table for Six [Cantonese]
With our special guest Bing Bing, we react to our rapturous screening of Table for Six, which has been racking up the Hong Kong box office as well!
Movies and TV shows mentioned:
Table for Six《飯戲攻心》
Men on the Dragon《逆流大叔》
My Prince Edward《金都》
One Second Champion《一秒拳王》
Love in a Puff《志明與春嬌》
You Shoot, I Shoot《買兇拍人》
Vulgaria《低俗喜劇》
We Are the Littles《男排女將》
The Empty Hands《空手道》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingWed, 21 Sep 2022 - 6 - Ep. 5: Ann Hui (II), Song of the Exile [English]
We continue our exploration of Ann Hui’s career with her coming-of-age memoir Song of the Exile. We discuss the complex formation of the HongKonger identity in the film, and how that has only gained relevance in the decades since the movie’s release.
Movies mentioned:
Song of the Exile《客途秋恨》
Keep Rolling《好好拍電影》
Love in the Fallen City《傾城之戀》
Boat People《投奔怒海》
The Romance of Book and Sword《書劍恩仇錄》
Summer Snow《女人,四十》
Yi Yi《一一》
Hill of No Return《無言的山丘》
Dust in the Wind《戀戀風塵》
Happy Together《春光乍洩》
The Way We Are《天水圍的日與夜》
A Simple Life《桃姐》
Irma Vep
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingWed, 21 Sep 2022 - 5 - Ep. 4: Reaction to The First Girl I Loved [Cantonese]
Following our screening of The First Girl I Loved《喜歡妳是妳》, we exchanged some heated opinions on the film’s style, structure, and queer politics!
Films mentioned:
The First Girl I Loved《喜歡妳是妳》
Boy Erased
Your Name Engraved Herein《刻在你心底的名字》
Feel 100%《百分百感覺》
Days of Being Wild《阿飛正傳》
Lan Yu《藍宇》
You Are the Apple of My Eye《那些年,我們一起追的女孩》
Fleet of Time《匆匆那年》
Zero to Hero《媽媽的神奇小子》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingFri, 19 Aug 2022 - 4 - Special: Reaction to the Hong Kong Film Awards w/ Kevin Ma [English]
In this special episode with our guest Kevin Ma, not only do we react to the results and production of the recent 40th Hong Kong Film Awards, we also reveal our first memories of the Awards and unmask the mysterious voting and campaigning processes!
Films mentioned:
Raging Fire《怒火》
Limbo《智齒》
Anita《梅艷芳》
Drifting《濁水漂流》
Zero to Hero《媽媽的神奇小子》
Ip Man《葉問》
Project Gutenberg《無雙》
Mad World《一念無明》
Breakout Brothers 2《逃獄兄弟2》
Breakout Brothers 3《逃獄兄弟3》
Cold War 《寒戰》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSat, 06 Aug 2022 - 3 - Ep. 3: Second New Wave, Stanley Kwan, Rouge [English]
Moving onto the Second New Wave, we continue our exploration of Hong Kong New Wave cinema history, and discuss Stanley Kwan’s ghostly romance Rouge (1988), starring Anita Mui and Leslie Cheung.
Rouge is available on Blu-ray through a brand new edition by The Criterion Collection.
Films mentioned:
Boat People《投奔怒海》
Rouge《胭脂扣》
An Amorous Woman of Tang Dynasty《唐朝豪放女》
Center Stage《阮玲玉》
The Temptations of a Monk《誘僧》
Swordsman II《笑傲江湖II東方不敗》
The East Is Red《東方不敗之風雲再起》
Wonder Women《胭脂雙響炮》
Love Unto Wastes《地下情》
The Heroic Trio《東方三俠》
New Dragon Gate Inn《新龍門客棧》
A Better Tomorrow《英雄本色》
Bullet in the Head《喋血街頭》
As Tears Go By《旺角卡門》
The Other 1/2 and the Other 1/2《我愛太空人》
An Autumn’s Tale《秋天的童話》
Full Moon in New York《人在紐約》
Farewell China《愛在別鄉的季節》
Crossings《錯愛》(1994)
Farewell My Concubine《霸王別姬》
Dumplings《餃子》
Women《女人心》
Red Rose White Rose《紅玫瑰白玫瑰》
Lan Yu《藍宇》
Yang ± Yin: Gender in Chinese Cinema《男生女相:華語電影之性別》
Madalena《馬達·蓮娜》
Song of the Exile《客途秋恨》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingFri, 29 Jul 2022 - 2 - Ep. 2: Reaction to Love After Love [Cantonese]
Join us for our first episode in Cantonese for our reaction to Ann Hui’s Love After Love (2020) immediately after our screening of the film!
Films and TV shows mentioned:
Love After Love《第一爐香》
Soul Mate《七月與安生》
Days of Being Wild《阿飛正傳》
Once Upon an Ordinary Girl《儂本多情》
Lust, Caution《色,戒》
In the Mood for Love《花樣年華》
Song of the Exile《客途秋恨》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingSun, 10 Jul 2022 - 1 - Ep. 1: Hong Kong New Wave, Ann Hui (I), Boat People [English]
We introduce you to Hong Kong On Screen and our podcast, dive into a brief history of the Hong Kong New Wave, and discuss Ann Hui’s career-defining Boat People (1982).
Films mentioned:
Love After Love《第一爐香》
Father and Son《父子情》
Jumping Ash《跳灰》
The Butterfly Murders《蝶變》
The Secret《瘋劫》
Night and Fog (2009)《天水圍的夜與霧》
The Beast《山狗》
A Simple Life《桃姐》
Still Human《淪落人》
House of the Lute《慾火焚琴》
Ju Dou《菊豆》
Rouge《胭脂扣》
Center Stage《阮玲玉》
Night and Fog (1956)
Man with a Movie Camera
Song of the Exile《客途秋恨》
Ann Hui’s “Vietnam Trilogy”:
Boy from Vietnam〈來客〉
The Story of Woo Viet《胡越的故事》
Boat People《投奔怒海》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Powered by Firstory HostingTue, 05 Jul 2022
Podcasts similaires à The Hong Kong On Screen Podcast
- Global News Podcast BBC World Service
- El Partidazo de COPE COPE
- Herrera en COPE COPE
- The Dan Bongino Show Cumulus Podcast Network | Dan Bongino
- Es la Mañana de Federico esRadio
- La Noche de Dieter esRadio
- Hondelatte Raconte - Christophe Hondelatte Europe 1
- Dateline NBC NBC News
- 財經一路發 News98
- La rosa de los vientos OndaCero
- Más de uno OndaCero
- La Zanzara Radio 24
- L'Heure Du Crime RTL
- El Larguero SER Podcast
- Nadie Sabe Nada SER Podcast
- SER Historia SER Podcast
- Todo Concostrina SER Podcast
- 安住紳一郎の日曜天国 TBS RADIO
- TED Talks Daily TED
- アンガールズのジャンピン[オールナイトニッポンPODCAST] ニッポン放送
- 辛坊治郎 ズーム そこまで言うか! ニッポン放送
- 飯田浩司のOK! Cozy up! Podcast ニッポン放送
- 吳淡如人生實用商學院 吳淡如
- 武田鉄矢・今朝の三枚おろし 文化放送PodcastQR