In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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תוכן מסופק על ידי Hong Kong On Screen. כל תוכן הפודקאסטים כולל פרקים, גרפיקה ותיאורי פודקאסטים מועלים ומסופקים ישירות על ידי Hong Kong On Screen או שותף פלטפורמת הפודקאסט שלהם. אם אתה מאמין שמישהו משתמש ביצירה שלך המוגנת בזכויות יוצרים ללא רשותך, אתה יכול לעקוב אחר התהליך המתואר כאן https://he.player.fm/legal.
דומה לThe Hong Kong On Screen Podcast
Are you a fan of Game of Thrones? Never read the books? No problem! Check out this podcast where the host, Liz, discusses about some of the things you missed out from the books! If you're interested in this podcast or the fandom, check out the website (https://www.thewesterosiprimer.com) to find out more! Sign up to the newsletter for the latest updates to the podcast or website. Artwork by Art - https://www.fiverr.com/lordoflogos Music by Cloud Road Music - https://www.cloudroadmusic.com/
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In a unique weekly podcast, Edith Bowman sits down with a variety of film directors, actors, producers and composers to talk about the music that inspired them and how they use music in their films, from their current release to key moments in their career. The music chosen by our guests is woven into the interview and used alongside clips from their films. https://itunes.apple.com/gb/playlist/soundtracking-with-edith-bowman-episode-132-mary-j-blige/pl.u-6mo4l9mhpzG6x https://play.spotify.co ...
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The iFanboy.com Comic Book Podcast is a weekly talk show all about the best new current comic book releases. Lifelong friends, Conor Kilpatrick and Josh Flanagan talk about what they loved and (sometimes) hated in the current weekly books, from publishers like Marvel, DC, Image Comics, Dark Horse Comics, BOOM! Studios, IDW, Aftershock, Valiant, and more. The aim is to have a fun time, some laughs, but to also really understand what makes comic books work and what doesn’t, and trying to under ...
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COMMONS is a documentary podcast that proves Canada is anything but boring. Each season, host Arshy Mann guides you through the country’s dark underbelly, bringing you stories about crime, corruption and all manner of misdeeds. Hosted on Acast. See acast.com/privacy for more information.
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DumTeeDum - A show about BBC Radio's 'The Archers'
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DumTeeDum - A show about BBC Radio's 'The Archers'
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DumTeeDum is a weekly podcast about The Archers featuring fans of Ambridge. Hosted on Acast. See acast.com/privacy for more information.
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The Coolest Podcast In The World. Hosted by Adam22 Watch these interviews on YouTube right here: https://www.youtube.com/nojumper
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Hosted by former Marvel entertainment lawyer Paul Sarker and entertainment enthusiast Mesh Lakhani, Better Call Paul will delve into the business and legal issues at play behind the glitz and glam. This show takes you beyond the catchy headlines to find out what’s really at play behind the scenes and gives you an introduction to the business side of show business.
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Our sixth season is Cleopatra, a six-episode series about one of the most expensive and infamous movies ever made. Directed by Joseph L. Mankiewicz and starring Elizabeth Taylor, Cleopatra should have been a smash. Instead, it was a shoot plagued by medical emergencies, climate disasters, nervous breakdowns, and the most scandalous love affair to ever hit a movie set. Join host Ben Mankiewicz as he digs through his own family stories to understand how it turned out so badly for his Oscar-win ...
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Bald Move Pulp is where you can get your fix of robots, aliens, action space adventures, and everything in between; on television or on the big screen. Pulp was not made for serious drama, if that’s your thing, you might be looking for Bald Move Prestige.
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What Should I Do With My Money?
1 Can We Afford a Wedding, a Home and IVF? 26:12
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אהבתי26:12
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אהבתיAs a newly engaged couple, Jules and Shay have a lot to look forward to: a destination wedding, starting fertility treatments and the potential of buying a home. But their goals have a short horizon, are they able to save enough to accomplish three large milestones within a five-year period? In this episode, Jules and Shay sit down with Carolina, a Morgan Stanley Financial Advisor to discuss short- and long-term savings strategies, utilizing company benefits and how their families can help them save for a down payment . For more information about this episode and the topics covered, check out our episode page and explore how you can connect with a Morgan Stanley Financial Advisor . Important information about your relationship with your Financial Advisor and Morgan Stanley Smith Barney LLC when using a Financial Planning tool. When your Financial Advisor prepares a Financial Plan, they will be acting in an investment advisory capacity with respect to the delivery of your Financial Plan. To understand the differences between brokerage and advisory relationships, you should consult your Financial Advisor, or review our Understanding Your Brokerage and Investment Advisory Relationships brochure available at https://www.morganstanley.com/wealth-relationshipwithms/pdfs/understandingyourrelationship.pdf You have sole responsibility for making all investment decisions with respect to the implementation of a Financial Plan. You may implement the Financial Plan at Morgan Stanley Smith Barney LLC or at another firm. If you engage or have engaged Morgan Stanley, it will act as your broker, unless you ask it, in writing, to act as your investment adviser on any particular account. Morgan Stanley Smith Barney LLC (“Morgan Stanley”), its affiliates and Morgan Stanley Financial Advisors and Private Wealth Advisors do not provide tax or legal advice. Clients should consult their tax advisor for matters involving taxation and tax planning and their attorney for matters involving trust and estate planning and other legal matters. Residential mortgage loans/home equity lines of credit are offered by Morgan Stanley Private Bank, National Association, an affiliate of Morgan Stanley Smith Barney LLC. With the exception of the pledged-asset feature, a Residential mortgage loans/home equity lines of credit are offered by Morgan Stanley Private Bank, National Association, an affiliate of Morgan Stanley Smith Barney LLC. With the exception of the pledged-asset feature, an investment relationship with Morgan Stanley Smith Barney LLC does not have to be established or maintained to obtain the residential mortgage products offered by Morgan Stanley Private Bank, National Association. All residential mortgage loans/home equity lines of credit are subject to the underwriting standards and independent approval of Morgan Stanley Private Bank, National Association. Rates, terms, and programs are subject to change without notice. Residential mortgage loans/home equity lines of credit may not be available in all states; not available in Guam, Puerto Rico and the U.S. Virgin Islands. Other restrictions may apply. The information contained herein should not be construed as a commitment to lend. Morgan Stanley Private Bank, National Association is an Equal Housing Lender and Member FDIC that is primarily regulated by the Office of the Comptroller of the Currency. 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Morgan Stanley Smith Barney LLC (“Morgan Stanley”) recommends that investors independently evaluate particular investments and strategies, and encourages investors to seek the advice of a Morgan Stanley Financial Advisor. The appropriateness of a particular investment or strategy will depend on an investor’s individual circumstances and objectives. Important Risk Information for Securities Based Lending : Clients must be aware that: (1) Sufficient collateral must be maintained to support the loan and to take future advances; (2) Clients may have to deposit additional cash or eligible securities on short notice; (3) Some or all of the pledged securities may be sold without prior notice in order to maintain account equity at required collateral maintenance levels. Clients will not be entitled to choose the securities that will be sold. 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Morgan Stanley Wealth Management is a business of Morgan Stanley Smith Barney LLC. Morgan Stanley Smith Barney LLC is a registered Broker/Dealer, and not a bank. Where appropriate, Morgan Stanley Smith Barney LLC has entered into arrangements with banks and other third parties to assist in offering certain banking related products and services. Investment, insurance and annuity products offered through Morgan Stanley Smith Barney LLC are: NOT FDIC INSURED | MAY LOSE VALUE | NOT BANK GUARANTEED | NOT A BANK DEPOSIT | NOT INSURED BY ANY FEDERAL GOVERNMENT AGENCY © 2025 Morgan Stanley Smith Barney LLC. Member SIPC. CRC# 4766848 (09/2025)…
Ep. 66: All Shall Be Well w/ Director Ray Yeung and Producer Teresa Kwong [English]
Manage episode 438427853 series 3368239
תוכן מסופק על ידי Hong Kong On Screen. כל תוכן הפודקאסטים כולל פרקים, גרפיקה ותיאורי פודקאסטים מועלים ומסופקים ישירות על ידי Hong Kong On Screen או שותף פלטפורמת הפודקאסט שלהם. אם אתה מאמין שמישהו משתמש ביצירה שלך המוגנת בזכויות יוצרים ללא רשותך, אתה יכול לעקוב אחר התהליך המתואר כאן https://he.player.fm/legal.
Ahead of the Los Angeles Premiere of this year’s Teddy Award-winning film ALL SHALL BE WELL, we interview director Ray Yeung and producer Teresa Kwong on their take on the story and style of the film, the journey of bringing the film to screen, and the film’s unlikely connections to Johnnie To and Wong Kar-wai!
2nd Hong Kong On Screen Film Festival – All Shall Be Well
Date: September 7, 2024 (Sat)
Time: 7:00 PM
Location: Starlight Whittier Village Cinemas
Get your tickets here!
Movies mentioned:
All Shall Be Well《從今以後》
Suk Suk (Twilight’s Kiss)《叔·叔》
Five Easy Pieces《輪流傳》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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83 פרקים
שתפוManage episode 438427853 series 3368239
תוכן מסופק על ידי Hong Kong On Screen. כל תוכן הפודקאסטים כולל פרקים, גרפיקה ותיאורי פודקאסטים מועלים ומסופקים ישירות על ידי Hong Kong On Screen או שותף פלטפורמת הפודקאסט שלהם. אם אתה מאמין שמישהו משתמש ביצירה שלך המוגנת בזכויות יוצרים ללא רשותך, אתה יכול לעקוב אחר התהליך המתואר כאן https://he.player.fm/legal.
Ahead of the Los Angeles Premiere of this year’s Teddy Award-winning film ALL SHALL BE WELL, we interview director Ray Yeung and producer Teresa Kwong on their take on the story and style of the film, the journey of bringing the film to screen, and the film’s unlikely connections to Johnnie To and Wong Kar-wai!
2nd Hong Kong On Screen Film Festival – All Shall Be Well
Date: September 7, 2024 (Sat)
Time: 7:00 PM
Location: Starlight Whittier Village Cinemas
Get your tickets here!
Movies mentioned:
All Shall Be Well《從今以後》
Suk Suk (Twilight’s Kiss)《叔·叔》
Five Easy Pieces《輪流傳》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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The Hong Kong On Screen Podcast
1 Ep. 81 Gloria (歌莉雅) — MAMACAR （天生是女人）: From Indie Singer-Songwriter & Hi-Fi to Film 31:20
31:20 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי31:20
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי本集邀請唱作女歌手 Gloria 歌莉雅，談她從校際歌手一路走到 Hi-Fi 專輯常客的歷程。她以原創〈天生是女人〉入選第三屆「銀幕·香港」電影節，同名微電影《MAMACAR》也讓她把舞台聲線帶到鏡頭前。節目中我們聊到她在情感表達、節奏與面對鏡頭上的再適應，拍攝最難忘的一幕，多年 Hi-Fi 生涯的壓力管理，以及給初入行歌手／演員的一個實用建議。亦會回望自中學比賽以來的關鍵時刻與評語，如何成為她繼續前行的動力。節目尾聲，Gloria 分享剛推出、向偶像草蜢致敬的 Hi-Fi 靚聲專輯《Love You Forever》（SALUTE TO GRASSHOPPER）。 由她主演的微電影將於 9 月 13 日在 Starlight Whittier Cinemas Village 與《虎毒不》同場放映。 購票請至： 點此購票 This episode features singer-songwriter Gloria (歌莉雅), tracing her journey from school competitions to becoming a mainstay of the Hi-Fi scene. Her original song “MAMACAR” was selected for the 3rd Hong Kong On Screen Film Festival, and the microfilm MAMACAR —for which it serves as the theme—continues her on-screen work. We discuss how she adjusted her emotional expression, timing, and relationship with the camera; the most unforgettable on-set moment; how she manages pressure after years in the Industry; and one practical tip for newcomers to singing and acting. We also revisit pivotal feedback from her school-competition days that propelled her forward. In the closing segment, Gloria shares her newly released Hi-Fi audiophile album Love You Forever (SALUTE TO GRASSHOPPER), a tribute to her idols, Grasshopper. The microfilm she stars in will screen on September 13 at Starlight Whittier Cinemas Village, alongside 《Montages Of A Modern Motherhood》. Tickets: Buy here --- The Hong Kong On Screen Podcast is a podcast dedicated to exploring 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 80 Interview w/ Hester Kwok, the Director of "My Hong Kong Diaries in 2022" [Cantonese] 48:06
48:06 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי48:06
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיEp80：專訪《孤島紀事2022》導演郭旭宏 🎙️🎙️本集播客就是《孤島紀事2022》導演郭旭宏，她分享在2022年封關期間的心思，並討論對香港文化以及電影業未來的期盼，對香港高速發展表達憂愁卻對文化帶有希望。 第三屆銀幕·香港電影節——《孤島紀事2022》 日期：九月二日 (二) 時間：晚上七時 地點：University of Southern California, Norris Theatre 👉免費門票 https://cinema.usc.edu/MyHongKongDiaries Ep. 77 Interview w/ Hester Kwok, the Director of "My Hong Kong Diaries in 2022" 🎙️🎙️ On this episode, we’re joined by the filmmaker of "My Hong Kong Diaries in 2022." She shares her experience during the 2022 lockdown, discusses her predictions for how Hong Kong culture and cinema will progress, and laments the rapid development of Hong Kong, yet still holds hope for the culture. --- The Hong Kong On Screen Podcast is a podcast dedicated to exploring 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 3rd Hong Kong On Screen Film Festival – My Hong Kong Diaries in 2022 Date: Sep 2 (Tue) Time: 7 PM Location: University of Southern California, Norris Theatre 🎟️ Tickets available now (FOR FREE): 👉 https://cinema.usc.edu/MyHongKongDiaries 📩 Subscribe to the Hong Kong On Screen newsletter (http://eepurl.com/hYBlc1) for the latest screening details! --- 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 (mailto: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 Hosting (https://firstory.me/zh) Powered by Firstory Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 79 Interview w/Director of Stories of Pang Jai(風吹布動)Jimmy Lo [Cantonese] 54:47
54:47 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי54:47
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי在本集 podcast，我們專訪《風吹布動》導演，深入探討作品的拍攝背景與過程，以及社區參與所帶來的影響。雖然這份努力最終成功引起國際關注，但在城市發展的洪流下，逐漸式微的布業仍難敵地產壓力——那麼，今天的我們還能做些什麼呢？ 《風吹布動》將於 9月6日（星期六） 在 CSUDH 放映，作為第三屆「銀幕·香港」電影節的精選節目。立即訂票，一同走進這段動人的故事！ 🎟️ 購票連結： https://www.tickettailor.com/events/hongkongonscreen1/1813383 In this podcast episode, we speak with the director of Stories of Pang Jai about the film’s background and production journey. The community’s efforts ultimately drew international attention, yet Hong Kong’s once-vibrant textile trade could not withstand the forces of urban redevelopment. So—what possibilities remain today? Stories of Pang Jai will be screened at the 3rd “Hong Kong On Screen” Film Festival on Saturday, September 6 , at CSUDH . Reserve your seat now and witness this powerful story on the big screen! 🎟️ Tickets: https://www.tickettailor.com/events/hongkongonscreen1/1813383 --- The Hong Kong On Screen Podcast is a podcast dedicated to exploring 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 78 Your Guide to the 3rd Hong Kong On Screen Film Festival 31:06
31:06 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי31:06
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי在本集節目中，主持人將為大家詳細介紹 第三屆「銀幕·香港」電影節 (HKOSFF) 的重點內容——從今年的片單到參與方式，一應俱全。本屆洛杉磯實體重點放映包括： 《不赦之罪》 (Valley of the Shadow of Death) 《風繼續吹》 (No Time for Goodbye) 《香港四徑大步走》 (Four Trails) 《虎毒不》 (Montages of a Modern Motherhood) 《十年》 (Ten Years) 此外，還有 四場免費校園放映，精選作品包括： 《慧童》 (Something About) 《茶粿》 (Cha Guo) 《李小龍：複製新宇宙》 (Enter the Clones of Bruce) 《風吹布動》 (Stories of Pang Jai) 如果您不在洛杉磯，也可以透過全球網上平台免費觀賞以下兩部影片： 黃肇邦的《十方之地》 (Obedience) 許鞍華的《詩》 (elegies) 同時，本屆「銀幕·香港」徵片單元的優秀作品也將組成三個特別節目 —— Program A、B、C，均可免費在線觀看。如果您願意，也非常歡迎捐款支持「銀幕·香港」的發展。 👉 電影節詳情請見：hkonscreen.org/festival In this episode, the host takes you through the highlights of the 3rd Hong Kong On Screen Film Festival (HKOSFF)—from this year’s lineup to how you can take part. We spotlight five feature screenings in Los Angeles: Valley of the Shadow of Death (不赦之罪) No Time for Goodbye (風繼續吹) Four Trails (香港四徑大步走) Montages of a Modern Motherhood (虎毒不) Ten Years (十年) The festival also presents four free campus screenings, featuring: Something About (慧童) Cha Guo (茶粿) Enter the Clones of Bruce (李小龍：複製新宇宙) Stories of Pang Jai (風吹布動) For audiences outside Los Angeles, HKOSFF offers global online access. You can watch for free: Obedience (十方之地) by Wong Siu-pong elegies (詩) by Ann Hui Plus, selected works from this year’s open call will be featured in three special online programs—Program A, B, and C—also available for free streaming. Donations are welcome to support Hong Kong On Screen and help the festival continue. 👉 Festival details: hkonscreen.org/festival --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 77 Interview w/ Don Ng, the Director of "No Time for Goodbye" 58:25
58:25 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי58:25
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיEp77：專訪《風繼續吹》導演吳曉東 🎙️🎙️本集播客幸慶邀請《風繼續吹》導演吳曉東，回顧他由記者轉入電影行業的經歷，探討海外香港電影的狀況，以及分享他在英國拍電影的心思。現已於主要串流平台上架。 第三屆銀幕·香港電影節——《風繼續吹》 日期：八月二十三日（六） 時間：晚上六時 地點：Starlight Whittier Village Cinemas 👉購買門票 https://www.starlightcinemas.com/movies/1000028485-no-time-for-goodbye/ Ep. 77 Interview w/ Don Ng, the Director of "No Time for Goodbye" 🎙️🎙️ On this episode, we’re joined by the filmmaker of "No Time for Goodbye," where he discusses his transition from journalism to filmmaking, the nature of Hong Kong cinema overseas, and shares his thoughts on making films in the UK. Now available on major streaming platforms. 3rd Hong Kong On Screen Film Festival – No Time For Goodbye Date: Aug 23 (Sat) Time: 6 PM Location: Starlight Whittier Village Cinemas 🎟️ Tickets on sale now: 👉 https://www.starlightcinemas.com/movies/1000028485-no-time-for-goodbye/ 📩 Subscribe to the Hong Kong On Screen newsletter (http://eepurl.com/hYBlc1) for the latest screening details! --- 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 (mailto: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 Hosting (https://firstory.me/zh) Powered by Firstory Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 76 Interview W/ HK Indie Short Film Award 2025 Directors Program III 28:07
28:07 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי28:07
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「Keep Roll嚟多個」x Hong Kong On Screen 聯播Podcast Ep76：專訪 影意志獨立短片獎 特輯 入圍作品五地聯展：導演訪談系列（三） 《15》導演：陳褀欣 《黑羊》導演：曾楊 "My Pen is Blue," 導演：邵知恩 🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得 訂閱《銀幕・香港》電子報 ，第一時間獲取放映詳情！ 預留位置現已開放， 即刻留位 ！ 🎙️🎙️ 本集節目特別邀請到「節目三」的三位導演接受訪問！在訪談中，他們真誠分享了創作短片的初心與過程中面對的挑戰💡🎬。同時，他們也對這次的放映充滿期待，希望能吸引更多關注香港電影的觀眾走進戲院，共同支持本地創作🇭🇰🎥。 Ep.76 Interview w/ HK Indie Short Film Award 2025 Directors Program III [Cantonese] 15 Director: Chan Ki Yan Black Sheep Director: Tsang Yeung My Pen is Blue, Director: Siu Chi Yan 🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28 . 🎙️🎙️ In this episode, we’re joined by the three directors featured in “Program 3”! During the interview, they sincerely share the inspirations behind their short films and the challenges they faced along the way 💡🎬. They also express great excitement for the upcoming screening, hoping it will attract more audiences who care about Hong Kong cinema to come to the theater and support local creations 🇭🇰🎥. RSVP Now! 📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details! --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 75 Interview W/ HK Indie Short Film Award 2025 Directors Program II 47:52
47:52 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי47:52
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「Keep Roll嚟多個」x Hong Kong On Screen 聯播Podcast Ep75：專訪 影意志獨立短片獎 特輯 入圍作品五地聯展：導演訪談系列（二） 《Sushi》 導演：黃勺嫚 《即使多轉變》導演：盧穎怡/鄭一昊/陳林 《殺死丁力II之帝國反擊戰》 導演：羅絡熙/胡孝宗/梁俊達 《爺爺來訪的夜》導演：阮智謙 🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得 訂閱《銀幕・香港》電子報 ，第一時間獲取放映詳情！ 預留位置現已開放， 即刻留位 ！ 🎙️🎙️ 本集節目特別邀請到「節目二」的八位導演接受訪問！在訪談中，他們真誠分享了創作短片的初心與過程中面對的挑戰💡🎬。同時，他們也對這次的放映充滿期待，希望能吸引更多關注香港電影的觀眾走進戲院，共同支持本地創作🇭🇰🎥。 Ep.75 Interview w/ HK Indie Short Film Award 2025 Directors [Cantonese] Sushi Director: Wong Cheuk Man Move On Move On Directors: Lo Wing Yi， Zheng Yihao， Chen Lin Kill Danny II: A Puppy Love Stor y Directors: Law Lok Hei, Leung Chun Tat, Wu Hau Chung The Reticent Wave Director: Yuen Chi Him 🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28 . 🎙️🎙️ In this episode, we’re joined by the eight directors featured in “Program 2”! During the interview, they sincerely share the inspirations behind their short films and the challenges they faced along the way 💡🎬. They also express great excitement for the upcoming screening, hoping it will attract more audiences who care about Hong Kong cinema to come to the theater and support local creations 🇭🇰🎥. RSVP Now! 📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details! --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 74 Interview W/ HK Indie Short Film Award 2025 Directors Program I 39:59
39:59 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי39:59
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「Keep Roll嚟多個」x Hong Kong On Screen 聯播Podcast Ep74：專訪 影意志獨立短片獎 特輯 入圍作品五地聯展：導演訪談系列（一）王樂堯/杜震謙/唐浩賢/陳穎淇 🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得 訂閱《銀幕・香港》電子報 ，第一時間獲取放映詳情！ 預留位置現已開放， 即刻留位 ！ 🎙️🎙️ 本集節目特別邀請到「節目一」的四位導演接受訪問！在訪談中，他們真誠分享了創作短片的初心與過程中面對的挑戰💡🎬。同時，他們也對這次的放映充滿期待，希望能吸引更多關注香港電影的觀眾走進戲院，共同支持本地創作🇭🇰🎥。 Ep.74 Interview W/ HK Indie Short Film Award 2025 Directors Wong Lok Yiu/ To Chun Him/ Tong Ho Yin/ Chan Wing Ki [Cantonese] 🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28 . 🎙️🎙️ In this episode, we’re joined by the four directors featured in “Program 1”! During the interview, they sincerely share the inspirations behind their short films and the challenges they faced along the way 💡🎬. They also express great excitement for the upcoming screening, hoping it will attract more audiences who care about Hong Kong cinema to come to the theater and support local creations 🇭🇰🎥. RSVP Now! 📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details! --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 73: Interview w/ Hong Kong Film Festival Australia Organiser Cicely and Volunteer Hester [Cantonese] 57:51
57:51 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי57:51
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיEp73：專訪香港電影節（澳洲）主辦人阿詩及義工Hester 🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得 訂閱《銀幕・香港》電子報 ，第一時間獲取放映詳情！ 預留位置現已開放， 即刻留位 ！ 🎙️🎙️ 本集節目邀請到是次電影節的主辦人阿詩及Hexter，與我和HKOS新加入的義工Iris分享籌辦過程中遇到的難題與故事。 🔥 他們亦談到選擇放映電影名單的難處和需要顧及的事情。 🏆 節目最後，他們還分享對香港電影產業狀況的看法。 Ep.73 Interview w/ Hong Kong Film Festival Australia Organiser Cicely and Volunteer Hester [Cantonese] 🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28 . RSVP Now! 🎙️🎙️ In this episode, Cicely and Hexter who are the organiser and volunteer of HKFFA, will be sharing the insights of creating this festival, with me and Iris, our new volunteer in HKOS. 🔥 They also talked about the difficulties they had when deciding the films to be screened in the festival. 🏆 Towards the end of the episode, they shared their views towards Hong Kong film industry as well. --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 72: Interview w/ the HK Indie Short Film Award 2025 Organizer Kaiu Choy [Cantonese] 37:44
37:44 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי37:44
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיEp72：專訪「影意志香港獨立短片獎2025」籌備人蔡嘉儀 🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得 訂閱《銀幕・香港》電子報 ，第一時間獲取放映詳情！ 預留位置現已開放， 即刻留位 ！ 🎙️🎙️ 本集節目邀請到是次短片獎活動的主辦人蔡嘉儀，與我分享籌辦過程中的點滴與幕後故事。 🔥 她也談到，在移居台灣後，為何仍選擇堅持這份工作，以及背後的動力與信念。 🏆 節目最後，我們一起探討了「什麼是獨立電影？」以及「香港的獨立電影未來還能如何走下去？」 Ep.72 Interview w/ the HK Indie Short Film Award 2025 Organizer Kaiu Choy [Cantonese] 🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28 . RSVP Now! 📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details! 🎙️🎙️ In this episode, I’m joined by Kaiu Choy, the organizer of this year’s short film awards, who shares behind-the-scenes stories and insights from the planning process. 🔥 She also talks about why she continues to pursue this work even after relocating to Taiwan, and what drives her to keep going. 🏆 Toward the end of the episode, we delve into questions like: What is independent cinema? And what paths are still open for Hong Kong’s independent film scene? --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 71: Interview with Irene Chan, Director of the Toronto Hong Kong Club [Cantonese] 33:53
33:53 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי33:53
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיEp71：專訪「多倫多香港會」負責人Irene Chan 🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得 訂閱《銀幕・香港》電子報 ，第一時間獲取放映詳情！ 預留位置現已開放， 即刻留位 ！ 🎙️🎙️ 本集節目邀請到多倫多香港會負責人 Irene Chan，與我們分享自2020年以來多倫多舉辦香港電影放映活動的點滴。 🔥 她也談到多次策劃獨立電影放映的初衷與心得體會。 🏆 節目最後，我們深入介紹了「影意志香港獨立短獎2025」的放映詳情，敬請留意！ 🎟️ 多倫多區嘅朋友想買飛，可以去呢度： https://shorturl.at/ib7ZX Ep.71 Interview with Irene Chan, Director of the Toronto Hong Kong Club 🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28 . RSVP Now! 📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details! 🎙️ In this episode, we invited Irene Chan, Director of the Toronto Hong Kong Club, to share highlights from the Hong Kong film screenings held in Toronto since 2020. 🔥 She also spoke about the motivations and experiences behind organizing multiple independent film screenings. 🏆 At the end of the episode, we dove into the details of the upcoming "Hong Kong Independent Shorts Awards 2025" screening — don’t miss it! 🎟️ Friends in the Toronto area can get their tickets here: https://shorturl.at/ib7ZX --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 70: Interview w/ HK Independent Short Film Award 2025 Curator Vincent Cui (崔允信) [Cantonese] 44:09
44:09 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי44:09
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיEp70：專訪「影意志香港獨立短片獎2025」策展人崔允信 🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得 訂閱《銀幕・香港》電子報 ，第一時間獲取放映詳情！ 預留位置現已開放， 即刻留位 ！ 🎙️ 本集節目中，我們邀請到老朋友、導演崔允信，深入談論這個短片獎的發起緣由、評審機制與得獎作品的背後故事。 🔥 他也進一步分享入選作品《星星之火・不可燎原》退出原定全球五地聯展的詳情，並談到自己面對事件時的灰心與感受。 🏆 節目最後，我們還討論了最新一屆香港電影金像獎的結果，以及它對本地獨立電影生態的潛在影響。 📰 相關報導： 獨立媒體： 陳朗昇受訪紀錄片入圍海外短片節 惟導演因「受訪者受壓」退出放映 集誌社： 影意志獨立短片獎｜陳朗昇受訪短片退出放映 影意志：受訪者受到壓力 追新聞： 國安時代｜前記協主席陳朗昇受壓 影意志入圍影片棄映 崔允信：少了一部電影，作品展如期放映 光傳媒： 「影意志獨立短片獎」入圍作品《星星之火・不可燎原》退出所有放映節目 棱角媒體： 影意志獨立短片獎 受訪者陳朗昇受壓 抽起海外放映 Ep70: Interview with “Hong Kong Independent Short Film Award 2025” Curator Vincent Cui 🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28 . RSVP Now! 📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details! 🎙️ In this episode, we speak with our good friend, director Vincent Cui, for an in-depth conversation about the origins of the short film awards, the judging process, and the stories behind the winning selections. 🔥 Cui also expands on the reasons behind the withdrawal of one of the shortlisted works, A Spark That Cannot Ignite a Prairie Fire , from a planned five-city international showcase, and shares his feelings of disillusionment in the face of recent challenges. 🏆 Finally, we discuss the results of the latest Hong Kong Film Awards and what they might mean for the future of independent cinema in the city. 📰 News coverage: Hong Kong Free Press: Documentary on Hong Kong journalist Ronson Chan withdrawn from overseas screenings, citing ‘pressure’ --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 69: LOVE LIES 我談的那場戀愛 w/ Music Producer Day Tai (戴偉) [Cantonese] 1:06:29
1:06:29 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:06:29
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי🎧 HKOS Podcast 全新上線！Ep69: 與電影原創音樂大師戴偉的深度對話 🎬 電影《我談的那場戀愛》已於12月6日 在全美上映，尚未購票的觀眾請盡快行動，珍惜映期！ 🎟️ 購票連結：https://www.amctheatres.com/movies/love-lies-78564 本集播客特別邀請三屆香港電影金像獎得主 戴偉 ，深入探討🎼 電影配樂 的核心意義、製作過程及其對電影的重要性。我們回顧了他自1998年踏入配樂行業以來的非凡經歷與深刻見解，同時深入了解他為《我談的那場戀愛》製作電影音樂的過程： ✨ 如何選擇主題聲音以代表電影 🎤 如何為歌手量身打造歌曲展現其最佳特色 🎥 如何協調音樂與影片的完美結合 此外，戴偉也分享了與知名電影人如導演黃修平及監製泰迪羅賓的合作點滴，帶來不少幕後故事。🎞️ 📀 戴偉的精彩作品已廣泛登陸各大串流平台，包括2023年特別製作的Atmos版《金手指》（可於Apple Music收聽），以及多部備受讚譽的原聲大碟，如： 🎶《狂舞派》 🎶《哪一天我們會飛》 🎶《點五步》 音樂愛好者千萬不要錯過，立即上線收聽吧！🔥 🎧 HKOS Podcast: New Episode! Ep69 - A conversation with Film Music Producer Day Tai 🎬 The film Love Lies premiered nationwide in the U.S. on December 6 ! For those who haven’t purchased tickets yet, don’t miss the chance to watch it during its limited run. 🎟️ Get your tickets here: Click Here In this episode, we are thrilled to have Day Tai, a three-time Hong Kong Film Awards winner, join us to explore the essence of 🎼 film scoring , its production process, and its importance to movies. We also look back at his remarkable career since entering the industry in 1998 and delve into his work on Love Lies : ✨ How he chose the signature sounds to represent the film 🎤 How he tailored songs to highlight the unique qualities of the singers 🎥 How he seamlessly integrated music with the cinematic narrative Additionally, Day shares behind-the-scenes stories about working with renowned filmmakers such as director Adam Wong and producer Teddy Robin. 🎞️ 📀 Many of Day’s acclaimed works are available on major streaming platforms, including the 2023 special Atmos edition of The Goldfinger (available on Apple Music) and award-winning soundtracks like: 🎶 The Way We Dance 🎶 She Remembers, He Forgets 🎶 Weeds on Fire Music lovers, don’t miss this! Tune in now on your favorite streaming platforms. 🔥 --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 68: Rather Be Ashes than Dust w/ Producer Nancy Tong [English] 43:54
43:54 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי43:54
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי🎥 紀錄片《寧化飛灰》（Rather Be Ashes Than Dust），一部屬於香港人的作品，將於洛杉磯 🌟 Starlight Whittier Village Cinemas 放映。屆時，制片人湯美如將出席映前與映後的座談會🎙️。 電影門票可於以下連結購買：🔗 https://booking.starlightcinemas.com/login/1003/111626 （選擇 “Continue as Guest” 即可購票 🎫）。 在本集，主持人與紀錄片製片湯美如 🎥 深入探討其參與製作的多部紀錄片，包括《Denise Ho - Becoming the Song》🎶（2020）、《Faceless》😷（2022）以及《寧化飛灰》🔥（2023）。節目最後，Nancy還分享了對海外香港人🌏如何應對2019年後香港🇭🇰局勢的看法。 🎥 A documentary for Hong Kongers, Rather Be Ashes Than Dust, will be screened at Starlight Whittier Village Cinemas 🌟 in Los Angeles. Producer Nancy Tong will attend pre- and post-screening discussions. Tickets are available here:🔗 https://booking.starlightcinemas.com/login/1003/111626 (Note: Select "Continue as Guest" to purchase directly🎫). In this podcast episode, the host engages in a deep conversation with documentary producer Nancy Tong 🎥 about her experiences working on several documentaries, including Denise Ho - Becoming the Song (2020) 🎶, Faceless (2022) 😷, and Rather Be Ashes than Dust (2023) 🔥. Toward the end of the episode, Nancy shares her thoughts on how overseas Hongkongers 🌏 should respond to the post-2019 situation 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 67: Rather Be Ashes than Dust w/ Director Alan Lau [Cantonese] 48:17
48:17 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי48:17
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי🎥 紀錄片《寧化飛灰》（Rather Be Ashes Than Dust），一部屬於香港人的作品，將於洛杉磯 🌟 Starlight Whittier Village Cinemas 放映。屆時，制片人湯美如將出席映前與映後的座談會🎙️。電影門票可於以下連結購買：🔗 https://booking.starlightcinemas.com/login/1003/111626 （選擇 “Continue as Guest” 即可購票 🎫）。 🎧 在最新一集播客，主持人與導演劉健倫深入探討了電影的製作過程、個人經歷，以及移居英國後的所見所聞🇬🇧。劉導演更寄望香港電影人能拓展視野🌏，積極創作，為香港人持續發聲📢。 🎥 A documentary for Hong Kongers, Rather Be Ashes Than Dust, will be screened at Starlight Whittier Village Cinemas 🌟 in Los Angeles. Producer Nancy Tong will attend pre- and post-screening discussions. Tickets are available here:🔗 https://booking.starlightcinemas.com/login/1003/111626 (Note: Select "Continue as Guest" to purchase directly🎫). 🎧 In this podcast episode, the host talks in depth with director Alan Lau about the filmmaking process, personal experiences, and observations after emigrating to the UK🇬🇧. The director also encourages Hong Kong filmmakers to broaden their visions 🌏, engage in creative projects, and continue speaking out for 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 66: All Shall Be Well w/ Director Ray Yeung and Producer Teresa Kwong [English] 39:33
39:33 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי39:33
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיAhead of the Los Angeles Premiere of this year’s Teddy Award-winning film ALL SHALL BE WELL, we interview director Ray Yeung and producer Teresa Kwong on their take on the story and style of the film, the journey of bringing the film to screen, and the film’s unlikely connections to Johnnie To and Wong Kar-wai! 2nd Hong Kong On Screen Film Festival – All Shall Be Well Date: September 7, 2024 (Sat) Time: 7:00 PM Location: Starlight Whittier Village Cinemas Get your tickets here ! Movies mentioned: All Shall Be Well《從今以後》 Suk Suk (Twilight’s Kiss)《叔·叔》 Five Easy Pieces《輪流傳》 Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 65: Interview w/Director Kiwi Chow(周冠威)[Cantonese] 49:47
49:47 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי49:47
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי導演周冠威稱《幻愛》為他的首部個人長篇電影，儘管在此之前他已完成《一個複雜的故事》以及香港金像獎最佳電影《十年》中的「自焚者」短片。 銀幕·香港 非常榮幸將《幻愛》納入第二屆「 銀幕·香港電影節 」的 線上放映名單 ，該片於2024年8月25日美國西岸時間凌晨至9月1日晚上11:59期間 免費開放 全球觀眾觀看。此外，還附有周導演為登記觀眾錄製的短片介紹，反應熱烈。我們感謝所有觀眾的支持，特別感謝那些慷慨捐款的人士！ 在本集podcast中，我們回顧了周導演參與的所有電影，並提到他最近在台灣完成的合拍片，這也是他首部以非粵語拍攝的「香港電影」。聽眾還可以收聽我們製作的 第12集 和 第13集 podcast，其中我們詳細討論了導演的金馬獎得獎作品《時代革命》。 Director Chow Kwun-wai describes *BEYOND THE DREAM* as his first personal feature-length film, although he had previously completed *A COMPLICATED STORY* and the "Self-immolator" short in *TEN YEARS*, which won Best Film at the Hong Kong Film Awards. Hong Kong On Screen is honored to include *BEYOND THE DREAM* in the second " Hong Kong On Screen Festival " online screening lineup. The film was free for global viewing from August 25, 2024, at midnight Pacific Time until 11:59 p.m. on September 1, 2024. Additionally, a short introduction by Director Chow, explicitly recorded for registered viewers, has been included, and an enthusiastic response has been received. We thank all viewers for their support, especially those who generously donated! In this podcast episode, we review all the films in which Director Chow has been involved and mention his recent co-production in Taiwan, which is also his first "Hong Kong film" shot in a non-Cantonese language. Listeners can also check out episodes 12 and 13 of our podcast, where we discuss in detail his Golden Horse Award-winning work, *REVOLUTION OF OUR TIMES*. --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 64: Hong Kong Film History Pt. 7 w/ Po Fung (蒲鋒) [Cantonese] 1:29:22
1:29:22 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:29:22
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「香港電影史導論 Podcast第七集」討論大網 有關這系列的Podcast, 詳情請看 這裡 。 第七集「無線電視廣播的衝擊及『香港地』『香港人』意識的明顯出現」 討論大網： 1967年無線電視開始，到1970年代電視成了深入民心的娛樂和資信媒介。其後原本有線廣播的麗的也轉為無線廣播。香港電影也受到電視冒起的直接影響。電視上成功的節目被改編成電影，電視也成了電影人材的培訓地，成功的電視人紛紛被引進電影圈。電視上的戲劇節目和新聞節目也建立了一個清晰的香港人身份認同。以粵語作廣播的電視甚至幫助香港電影由國語主導轉變成粵語主導。香港電影也在1970年代完成了世代交替，上一輩編導多在1970年代退下火線，在香港成長的新一代影人紛紛接棒，單以電影界出身的，吳思遠、洪金寶、吳宇森都開始建立他們穩固的導演地位。新一代影人之外還有新的類型，功夫片、警匪片、黑幫片、賭千片等過去沒有的類型也在1970年代成型。 --------- Outline of Introduction to Hong Kong Film Industry Podcast Part 7 About this series of podcasts, please check here . Episode 7: “TVB’s Impact on the Emergence of ‘Hong Kong’ and the ‘Hong Konger’ Identity" Television Broadcasting Limited (TVB) was founded in 1967 and had, by the 1970s, become a popular and influential entertainment and information program in Hong Kong. Even Hong Kong cinema was directly influenced by the rise of television. Television soon became a training ground for talent in the film industry: successful televisions were often adapted into movies, and it was common for successful television personnel to be introduced into the film industry. Television dramas and news programs also established a distinctive identity for the people of Hong Kong. Cantonese Television even helped shift Hong Kong Cinema’s market from being a Mandarin-dominated market to being Cantonese-dominated. In the 1970s, Hong Kong cinema completed a generational transition, with the previous generation of directors and writers retiring from the scene and a new generation of filmmakers from Hong Kong taking over. Notable directors who emerged from this period include John Woo, Sammo Hung, and Tsui Hark, who all established themselves as leading figures in the industry. In addition to new filmmakers, new film genres such as martial arts films, crime films, gangster films, and gambling films also emerged in the 1970s, which had not been seen before. ****************** 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 63: Hong Kong Film History Pt. 6 w/ Po Fung (蒲鋒) 3/3 [Cantonese] 1:30:38
1:30:38 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:30:38
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「香港電影史導論 Podcast第六集」討論大網 有關這系列的Podcast, 詳情請看 這裡 。 第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」 討論大網： 1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。 在這第六集的podcast， 我們一共分開三節，在第三節，我們討論了以下內容： 七十年代香港電影與台灣電影的關係如何？為何可以說是歷史上最緊密的時期？ 隨著粵語片停產，台灣電影進入香港市場，哪些作品受到了歡迎？ 許多台灣電影人來到香港註冊開公司，並在香港進行電影後期製作，原因是什麼？ 為什麼香港在這個年代的後期製作會受益於台灣電影的湧入？ 台灣電影在香港是如何沒落的？這與香港在自由氣氛下爆發的創作力有何關係？香港在自由的環境下，如何超越台灣影人的作品？ 「南下影人」在七十年代還有發展嗎？ 香港電影業界與外國（主要是美國）電影業界有哪些聯繫？雙方自六十年代開始交流後對香港電影製作有什麼影響？ 七十年代，不少片場倒閉，取而代之的是租借器材公司，例如沙龍，為什麼會出現這種現象？對電影業有什麼貢獻？ --------- Outline of Introduction to Hong Kong Film Industry Podcast Part 6 About this series of podcasts, please check here . Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition" At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story. In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry. In this sixth episode of the podcast, we divided our discussion into three segments. In the third segment, we covered the following topics: How were Hong Kong and Taiwanese films related in the 1970s, and why can this period be considered the closest in history? With the cessation of Cantonese films, Taiwanese films entered the Hong Kong market. Which works were well-received? Why did many Taiwanese filmmakers come to Hong Kong to register companies and conduct post-production work there? Why did Hong Kong's post-production industry benefit from the influx of Taiwanese films during this period? How did Taiwanese films decline in Hong Kong, and how is this related to the creative explosion in Hong Kong's free atmosphere? How did Hong Kong surpass Taiwanese filmmakers' works in a free environment? Did "Filmmakers from Mainland China" continue to develop in the 1970s? What connections existed between Hong Kong's film and foreign (mainly American) film industries? What impact did their interactions since the 1960s have on Hong Kong film production? In the 1970s, many film studios closed down and were replaced by equipment rental companies, such as Salon. Why did this phenomenon occur, and what contributions did it make to the film industry? ****************** 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 62: Hong Kong Film History Pt. 6 w/ Po Fung (蒲鋒) 2/3 [Cantonese] 52:35
52:35 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי52:35
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「香港電影史導論 Podcast第六集」討論大網 有關這系列的Podcast, 詳情請看 這裡 。 第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」 討論大網： 1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。 在這第六集的podcast， 我們一共分開三節，在第二節，我們討論了以下內容： 李小龍猝死之後，嘉禾是如何渡過難關呢？ 七十年代，香港社會從傳統走向現代，而電影圈正是這種社會變遷的縮影。嘉禾是如何在這個轉變中超越邵氏的？ 嘉禾擁有眾多巨星，其中洪金寶、許冠文、吳宇森、成龍的影響有多大？ 什麼是諧趣功夫片？有哪些著名作品？它們如何影響了《功夫熊貓》？ 諧趣功夫片如何使粵語電影成為香港電影的主流？ 除了嘉禾，七十年代還湧現了不少獨立電影製作公司，他們有哪些人？又有哪些作品？ Outline of Introduction to Hong Kong Film Industry Podcast Part 6 About this series of podcasts, please check here . Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition" At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story. In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry. In this sixth episode of the podcast, we divided our discussion into three segments. In the second segment, we covered the following topics: How did Golden Harvest overcome the difficulties following Bruce Lee's sudden death? In the 1970s, Hong Kong society transitioned from traditional to modern, with the film industry reflecting this social change. How did Golden Harvest surpass Shaw Brothers during this transformation? Golden Harvest had many stars. How significant were the influences of Sammo Hung, Michael Hui, John Woo, and Jackie Chan? What are comedy kung fu films? What are some famous works, and how did they influence "Kung Fu Panda"? How did comedy kung fu films help Cantonese-language movies become mainstream in Hong Kong? Besides Golden Harvest, many independent film production companies emerged in the 1970s. Who were involved, and what works did they produce? ****************** 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 60: The Lyricist Wannabe《填詞L》 w/ Director Norris Wong 2/2 [Cantonese] 28:58
28:58 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי28:58
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי《填詞L》已於5月25日於Starlight Whittier Village Cinemas 下午3點放映 🎬✨，多謝入場觀賞電影的朋友 💖，另外也多謝導演黃綺琳和監製黃鐦親身來到現場跟我們分享 🙏。 在這一集podcast，我們跟導演主要討論了電影拍攝初衷 🎥，選景的邏輯 📍，拍攝期間的挑戰 💪，以及對填詞夢的最終結果有什麼看法 🎶。 係呢度聽：https://hkonscreen.firstory.io/ 🎧 --- "The Lyricist Wannabe" was screened on May 25th at 3:00 PM at Starlight Whittier Village Cinemas 🎬✨. We thank everyone who came to watch the film 💖 and special thanks to director Norris Wong and producer Hoi Wong for coming in person to share with us 🙏. In this episode of the podcast, we mainly discussed with the director the initial inspiration for making the film 🎥, the logic behind choosing locations 📍, the challenges faced during filming 💪, and their thoughts on the outcome of the dream of becoming a lyricist 🎶. Listen here: https://hkonscreen.firstory.io/ 🎧 --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 59: Hong Kong Film History Pt. 6 w/ Po Fung (蒲鋒) 1/3 [Cantonese] 1:16:13
1:16:13 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:16:13
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「香港電影史導論 Podcast第六集」討論大網 有關這系列的Podcast, 詳情請看 這裡 。 第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」 討論大網： 1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。 在這第六集的podcast， 我們一共分開三節，在第一節，我們討論了以下內容： 嘉禾成立的背景，主人的背景是什麼？話事鄒文懷從邵氏帶走了些什麼人？出走的原因又是什麼？ 張徹本伴隨鄒氏出走，但最後為什麼沒有呢？ 李小龍這一名巨星的出現，是如何拯救了嘉禾呢？ 功夫片自李小龍出現後成賣座電影，跟從前的武俠電影有什麼分別呢？ 何謂真正的功夫片？ 嘉禾衛星公司是什麼？嘉禾是如何利用省減成本開支呢？ --------- Outline of Introduction to Hong Kong Film Industry Podcast Part 6 About this series of podcasts, please check here . Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition" At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story. In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry. In this sixth episode of the podcast, we divided our discussion into three segments. In the first segment, we covered the following topics: The background of Golden Harvest's establishment: What is the background of its founders? What personnel did Raymond Chow take with him from Shaw Brothers? What were the reasons for the departure? Chang Cheh initially planned to leave with Raymond Chow but ultimately did not—why was that? How did the emergence of the superstar Bruce Lee save Golden Harvest? How did kung fu films become box office hits after Bruce Lee's appearance, and how did they differ from the earlier wuxia films? What defines a true kung fu film? What was Golden Harvest's satellite company, and how did Golden Harvest utilize it to reduce costs? ****************** 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 58: The Lyricist Wannabe《填詞L》 w/ Director Norris Wong 1/2 [Cantonese] 23:46
23:46 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי23:46
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי《填詞L》將於5月25日於Starlight Whittier Village Cinemas 下午3點放映，詳情請到：https://www.hkonscreen.org/lyricist 🎬✨ 在這一集podcast，我們跟導演主要討論了《填詞L》票房終於達到700萬 💸，從很㥬惶到最終收回成本的心情 😰😅。另外，導演因為參與了Netflix劇集《此時此刻》的製作，我們於是也討論了台灣與香港電影／電視製作的分別 🎥🇹🇼🇭🇰，還有從政府資助的首部劇情電影計劃到自資拍攝電影，再到參與高成本的跨國製作 🌏🎬，當中的又體味到什麼呢？ --- "The Lyricist Wannabe" will be screened on May 25th at 3:00 PM at Starlight Whittier Village Cinemas. For more details, please visit: https://www.hkonscreen.org/lyricist 🎬✨. In this podcast episode, we mainly discussed with the director about the box office of "The Lyricist Wannabe,” which finally reached 7 million 💸, from being very anxious 😰 to eventually breaking even 😅. Additionally, because the director participated in the production of the Netflix series "At the Moment," we also discussed the differences between film/television production in Taiwan and Hong Kong 🎥🇹🇼🇭🇰. Moreover, we discussed the experiences gained from the government's First Feature Film Initiative, which involved self-financed film production and participation in high-budget international productions 🌏🎬. --- 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 57: Pai Niang Niang: The Last Osmanthus Blossom《白孃孃：一朶遲桂花》 w/ Director Isabel Wong [Cantonese] 43:46
43:46 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי43:46
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי🎙️📽️🌸 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 56: Back Home (七月返歸） w/ Director Nate Ki [Cantonese] 20:48
20:48 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי20:48
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי《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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 55: Spacked Out w/ Director Lawrence Lau [English] 25:45
25:45 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי25:45
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיWe 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 54: Hong Kong Film History Pt. 5 w/ Po Fung (蒲鋒) 3/3 [Cantonese] 1:10:00
1:10:00 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:10:00
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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. 5.3 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 53: Hong Kong Film History Pt. 5 w/ Po Fung (蒲鋒) 2/3 [Cantonese] 1:27:10
1:27:10 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:27:10
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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. 5.3 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 52 Convo with Veteran Journalist Edward Choi (蔡仔) on IN BROAD DAYLIGHT (白日之下) 51:11
51:11 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי51:11
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי🕵️ 🔎 👁️🗨️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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 51: Interview with Vincent Cui (崔允信) on his three indies [Cantonese] 1:31:56
1:31:56 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:31:56
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי🎞️🎞️🎞️ 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 50: Hong Kong Film History Pt. 5 w/ Po Fung (蒲鋒) 1/3 [Cantonese] 1:21:55
1:21:55 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:21:55
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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. 5.3 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 49: Vanished Archives w/ Director Connie Yan-wai Lo 2/2 [Cantonese] 1:32:18
1:32:18 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:32:18
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי《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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 48: Vanished Archives w/ Director Connie Yan-wai Lo 1/2 [Cantonese] 47:55
47:55 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי47:55
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי《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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 47: Bamboo Theatre w/ Director Cheuk Cheung [Cantonese] 1:17:35
1:17:35 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:17:35
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיIn 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 46: Interview w/ Director of 3CM (2019) Wong Siu-pong (黃肇邦) 36:53
36:53 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי36:53
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי《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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 45: Interview w/ SDAFF Artistic Director Brian Hu (II) [English] 1:08:51
1:08:51 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:08:51
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיThe 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 44: Farewell My Concubine w/ Dr. Ho-Fung Hung 4/4 [Cantonese] 44:59
44:59 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי44:59
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי💙💙💙 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 43: Farewell My Concubine w/ Prof. Chris Berry 3/4 [English] 59:08
59:08 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי59:08
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיContinuing 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 Hosting…
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The Hong Kong On Screen Podcast
1 [電影旅神 D’Voyagers Ep.2] 殭屍 Rigor Mortis (2013) 32:32
32:32 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי32:32
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי☠️☠️☠️ 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 42: On EVERYPHONE EVERYWHERE w/ Director Amos WHY (黃浩然）2/2 [Cantonese] 33:13
33:13 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי33:13
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 41: On EVERYPHONE EVERYWHERE w/ Director Amos WHY (黃浩然）1/2 [Cantonese] 35:35
35:35 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי35:35
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 40: Farewell My Concubine w/ Dr. Isha Ting 2/4 [Cantonese] 1:04:21
1:04:21 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:04:21
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי❣️❣️❣️ 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 39: Farewell My Concubine w/ Dr. Stanley Rosen 1/4 [English] 32:22
32:22 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי32:22
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי❣️❣️❣️ 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 Hosting…
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The Hong Kong On Screen Podcast
1 [電影旅神 D’Voyagers Ep.1] 金都 My Prince Edward (2019) 39:18
39:18 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי39:18
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 38: Hong Kong Spectral Cinema and the 1997 Turnover [Cantonese] 51:08
51:08 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי51:08
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיIn 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 37: On Pang Ho-cheung's DREAM HOME 維多利亞壹號 (Starring Josie Ho) [Cantonese] 35:15
35:15 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי35:15
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיIn 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 36: Hong Kong Film History Pt. 4 w/ Po Fung (蒲鋒) 2/2 [Cantonese] 1:21:59
1:21:59 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:21:59
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 35: Hong Kong Film History Pt. 4 w/ Po Fung (蒲鋒) 1/2 [Cantonese] 1:18:49
1:18:49 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:18:49
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 34: Frank Djeng on Bruce Lee's ENTER THE DRAGON 50th Anniversary [Cantonese] 1:00:34
1:00:34 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:00:34
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי[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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 33: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 5/5 [Cantonese] 1:05:55
1:05:55 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:05:55
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 32: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 4/5 [Cantonese] 38:02
38:02 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי38:02
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 31: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 3/5 [Cantonese] 59:22
59:22 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי59:22
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 30: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 2/5 [Cantonese] 46:09
46:09 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי46:09
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 29: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 1/5 [Cantonese] 1:07:07
1:07:07 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:07:07
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי「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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 28: On LOST LOVE (流水落花) with director Ka Sing-Fung (賈勝楓)[Cantonese] 1:19:56
1:19:56 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:19:56
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 27: Special: Reaction to The Sparring Partner [Cantonese] 48:29
48:29 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי48:29
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיOur 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 26: Hong Kong Film History Pt. 2 w/ Po Fung (蒲鋒）[Cantonese] 1:36:31
1:36:31 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי1:36:31
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 25: Dora Choi (徐岱靈) on TO BE CONTINUED (尚未完場) [Cantonese] 45:20
45:20 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי45:20
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיThis 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 24: Sammo Hung Retrospective at Academy Museum w/ Patrick Lowry and Lindy Leong [English] 43:58
43:58 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי43:58
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתיThis 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 Hosting…
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The Hong Kong On Screen Podcast
1 Ep. 23: Interview w/ a New Hong Kong Film Distributor in the US [Cantonese] 39:29
39:29 הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי39:29
הפעל מאוחר יותר הפעל מאוחר יותר רשימות לייק אהבתי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 Hosting…
ברוכים הבאים אל Player FM!
Player FM סורק את האינטרנט עבור פודקאסטים באיכות גבוהה בשבילכם כדי שתהנו מהם כרגע. זה יישום הפודקאסט הטוב ביותר והוא עובד על אנדרואיד, iPhone ואינטרנט. הירשמו לסנכרון מנויים במכשירים שונים.
דומה לThe Hong Kong On Screen Podcast
In the 1980s, there were only 63 Black films by, for, or about Black Americans. But in the 1990s, that number quadrupled, with 220 Black films making their way to cinema screens nationwide. What sparked this “Black New Wave?” Who blazed this path for contemporaries like Ava DuVernay, Kasi Lemmons and Jordan Peele? And how did these films transform American culture as a whole? Presenting The Class of 1989, a new limited-run series from pop culture critics Len Webb and Vincent Williams, hosts ...
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Are you a fan of Game of Thrones? Never read the books? No problem! Check out this podcast where the host, Liz, discusses about some of the things you missed out from the books! If you're interested in this podcast or the fandom, check out the website (https://www.thewesterosiprimer.com) to find out more! Sign up to the newsletter for the latest updates to the podcast or website. Artwork by Art - https://www.fiverr.com/lordoflogos Music by Cloud Road Music - https://www.cloudroadmusic.com/
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In a unique weekly podcast, Edith Bowman sits down with a variety of film directors, actors, producers and composers to talk about the music that inspired them and how they use music in their films, from their current release to key moments in their career. The music chosen by our guests is woven into the interview and used alongside clips from their films. https://itunes.apple.com/gb/playlist/soundtracking-with-edith-bowman-episode-132-mary-j-blige/pl.u-6mo4l9mhpzG6x https://play.spotify.co ...
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The iFanboy.com Comic Book Podcast is a weekly talk show all about the best new current comic book releases. Lifelong friends, Conor Kilpatrick and Josh Flanagan talk about what they loved and (sometimes) hated in the current weekly books, from publishers like Marvel, DC, Image Comics, Dark Horse Comics, BOOM! Studios, IDW, Aftershock, Valiant, and more. The aim is to have a fun time, some laughs, but to also really understand what makes comic books work and what doesn’t, and trying to under ...
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COMMONS is a documentary podcast that proves Canada is anything but boring. Each season, host Arshy Mann guides you through the country’s dark underbelly, bringing you stories about crime, corruption and all manner of misdeeds. Hosted on Acast. See acast.com/privacy for more information.
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DumTeeDum - A show about BBC Radio's 'The Archers'
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DumTeeDum - A show about BBC Radio's 'The Archers'
Dumteedum
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DumTeeDum is a weekly podcast about The Archers featuring fans of Ambridge. Hosted on Acast. See acast.com/privacy for more information.
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The Coolest Podcast In The World. Hosted by Adam22 Watch these interviews on YouTube right here: https://www.youtube.com/nojumper
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Hosted by former Marvel entertainment lawyer Paul Sarker and entertainment enthusiast Mesh Lakhani, Better Call Paul will delve into the business and legal issues at play behind the glitz and glam. This show takes you beyond the catchy headlines to find out what’s really at play behind the scenes and gives you an introduction to the business side of show business.
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Our sixth season is Cleopatra, a six-episode series about one of the most expensive and infamous movies ever made. Directed by Joseph L. Mankiewicz and starring Elizabeth Taylor, Cleopatra should have been a smash. Instead, it was a shoot plagued by medical emergencies, climate disasters, nervous breakdowns, and the most scandalous love affair to ever hit a movie set. Join host Ben Mankiewicz as he digs through his own family stories to understand how it turned out so badly for his Oscar-win ...
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Bald Move Pulp is where you can get your fix of robots, aliens, action space adventures, and everything in between; on television or on the big screen. Pulp was not made for serious drama, if that’s your thing, you might be looking for Bald Move Prestige.
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Player FM - אפליקציית פודקאסט
התחל במצב לא מקוון עם האפליקציה Player FM !
התחל במצב לא מקוון עם האפליקציה Player FM !
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