Podcasts about hong kong film

「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

「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

「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

Challenge #9 - "An Independent Film"Two melancholic Hong Kong policemen fall in love: one with a mysterious underworld figure, the other with a beautiful and ethereal server at a late-night restaurant he frequents.This one left us puzzled after the credits hit but one thing we knew for sure was we never wanted to hear California Dreamin' ever again. 

I report and discuss the latest Alibaba stock news that Alibaba's Digital Media & Entertainment Group will invest heavily in Hong Kong's entertainment industry over the next five years. In addition, Alibaba's Cainiao Smart Logistics Network is partnering with Chinese EV maker Geely. Related episodes: Alibaba Stock: Is The Bottom In? Chairman Joe Tsai Interview! https://youtu.be/eZ4x8z2qjII Alibaba Stock Earnings Summary + My Opinion | BABA Stock https://youtu.be/TJnjxv8LNL0 The Art of Value Alibaba Stock Playlist: https://youtube.com/playlist?list=PLrNjj1l3MS7XjzElr0IE-E5uw5eAAtmmU&si=UX7hocmkh-Nx0fjE Join The Art of Value Patreon community for exclusive videos and more: https://www.patreon.com/TheArtofValue Disclaimer: I am not a financial adviser and nothing in this content is financial advice. This content is for education and entertainment purposes only. Do your own analysis and/or seek professional financial advice before making any investment decision. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theartofvalue/message

I report and discuss the latest Alibaba stock news that Alibaba's Digital Media & Entertainment Group will invest heavily in Hong Kong's entertainment industry over the next five years. In addition, Alibaba's Cainiao Smart Logistics Network is partnering with Chinese EV maker Geely. Related episodes: Alibaba Stock: Is The Bottom In? Chairman Joe Tsai Interview! https://youtu.be/eZ4x8z2qjII Alibaba Stock Earnings Summary + My Opinion | BABA Stock https://youtu.be/TJnjxv8LNL0 The Art of Value Alibaba Stock Playlist: https://youtube.com/playlist?list=PLrNjj1l3MS7XjzElr0IE-E5uw5eAAtmmU&si=UX7hocmkh-Nx0fjE Join The Art of Value Patreon community for exclusive videos and more: https://www.patreon.com/TheArtofValue Disclaimer: I am not a financial adviser and nothing in this content is financial advice. This content is for education and entertainment purposes only. Do your own analysis and/or seek professional financial advice before making any investment decision. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theartofvalue/message

「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

「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

「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影廣播對香港電影的影響。 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 film industry of the 1960s, including the impact of the 1966-67 riots and the influence of wireless film broadcasting on Hong Kong cinema. ****************** 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

This OVA was released in 1989 and is a precursor to the live action Hong Kong Film, Riki Oh: The Story of Riki. In our many episodes covering 80s/90s OVAs have we finally met another bad one? Well it is readily available on YouTube so that should tell you what you have to know. Leave a comment/review or message us at badanimepod@gmail.com or DM us on insta @badanimepod to have your lovely words read out on the show!

「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

「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

This OVA was released in 1989 and is a precursor to the live action Hong Kong Film, Riki Oh: The Story of Riki. In our many episodes covering 80s/90s OVAs have we finally met another bad one? Well it is readily available on YouTube so that should tell you what you have to know. Leave a comment/review or message us at badanimepod@gmail.com or DM us on insta @badanimepod to have your lovely words read out on the show!

「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

「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

Holmberg's Morning Sickness - Brady Report - Tuesday July 18, 2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

「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

「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

「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

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

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

2009年香港政府曾大張旗鼓舉辦了多項慶祝香港電影100年的活動，最有意義也最反諷的一項活動是香港電影資料館在年底舉辦的一次學術研討會，因為有學者在會上提出有力證據，一百年之前的1909年那一年並沒有拍出第一部香港電影，第一部香港電影應該出現在1914年。第一部香港電影的討論是件既有趣也深具啟發性的歷史考據。出現了第一部電影並不等於會出現一個興旺的影業。香港能在1930年代發展出一個僅次於上海的華語電影影業，實受著中國政治、經濟、文化等因素強烈影響，其中邵氏兄弟又起著至今還未被足夠認真看待的重要作用。 The Hong Kong government commemorated the centenary of the Hong Kong cinematic industry with a range of activities in 2019. Perhaps the most significant yet ironic event was the academic symposium held by the Hong Kong Film Archive at the end of the year. In the symposium, a scholar presented concrete evidence to challenge the long-held consensus that the first Hong Kong film was produced in 1909. Instead, the scholar suggested the first film was produced five years later, in 1914. This discussion was an exciting and thought-provoking example of a scholarly endeavor in Hong Kong's cinematic history. While the first film marked a milestone in Hong Kong history, it did not suggest the industry was vibrant during the initial stage. In the 1930s, Hong Kong finally established its Mandarin film industry, only second to Shanghai. Its development could be attributed to various factors, including Chinese politics, economy, and culture. In part, Shaw Brothers Studio, a local film production company, played an influential yet less-known role in the industry. This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket. --- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

ESWS 286 - Films of Chinese New Year 2023 Hong Kong Cinema Podcast Podcast episode 287 - Films of Chinese New Year 2023 In the midst of the LNY holiday, we discuss a few of the holiday films we've been able to see, including Donnie Yen's SAKRA , Dayo Wong's A GUILTY CONSCIENCE and the latest feature Fromm Light Chaser Animation NEW GODS: YANG JIAN . visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

ESWS 286 - Our Favorites of 2022 Hong Kong Cinema Podcast Podcast episode 286 - Our Favorites of 2022 In the build up to LNY 2023 we take a moment to discuss our favorite things from 2022. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

Interview with film music composer Anthony Chue (褚鎮東). We chatted about the opportunities and industry practices for film music composition in Hong Kong, followed by some more in-depth discussion of Chue's style in the movies Divergence 三岔口 (2005, dir. Benny Chan) and All About Love 得閒炒飯 (2010, dir. Ann Hui). He also discussed how working in films influenced his work in Cantopop. Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

ESWS 285 - WARRIORS OF FUTURE Hong Kong Cinema Podcast Podcast episode 285 - WARRIORS OF FUTURE Starting out 2023 with a discussion (at long last) Louis Koo's sci-fi epic WARRIORS OF FUTURE (2022). visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

I recommend the Hong Kong documentary: Revolution of Our Times. I also talk about my thoughts on the tension between Taiwan and China. 分享我看香港紀錄片《時代革命》的想法，以及對於台灣和中國間的緊張關係的想法。 (00:50) 電影介紹 introduction (02:59) 我看這部電影的感想 How I feel about this movie and my experience in the movement (08:20) 台灣和中國的緊張關係 Taiwan-China Tensions (09:33) 我會擔心戰爭嗎？ Are Taiwanese worried about China's threat of invasion? (my personal opinion)

“Martial Arts taught me to never accept failure.” – Cynthia RothrockMy guest this episode is a film legend, a forms World Champion, a Black Belt Magazine Hall of Famer, the one and only Cynthia Rothrock.  Cynthia is a lifelong martial artist who holds 7 Black Belts and is receiving the 2022 Lifetime Achievement Award at the Century Martial Arts Super Show.  This episode is all about Cynthia Rothrock's journey from training under Ernie Reyes Sr., representing the legendary West Coast Demo Team, becoming a multiple time world champion in forms, to being discovered by the Hong Kong Film Industry.  My Key Take Away is to Never Accept Failure and to Never Quit.  Martial Arts teaches us to overcome adversity, to learn and to grow.  Not everyone is a natural, but with grit, strong determination, and most importantly a Positive Attitude you can keep going and achieve your dreams.  Cynthia is a true martial artist, her passion for teaching, learning, and her quest for adventure in life is inspirational.  

ESWS 284 - RRR Hong Kong Cinema Podcast Podcast episode 284 - RRR Back after a lengthy hiatus, we discuss the new Indian epic RRR from director S. S. Rajamouli. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

While public screenings of films about the protest movement are now effectively banned in Hong Kong, people are filling theatres in Melbourne this week to watch them.

Some Hong Kong film makers are already being censored under the new political regime, and there are fears worse is to come. Voices producer Liz Garton spoke with Vicci Ho a film festival programmer who helped plan the Chinese and East Asian cinema showings for this year's International Film Festival.

Some Hong Kong film makers are already being censored under the new political regime, and there are fears worse is to come. Voices producer Liz Garton spoke with Vicci Ho a film festival programmer who helped plan the Chinese and East Asian cinema showings for this year's International Film Festival.

ESWS 283 - GODZILLA VS KONG Hong Kong Cinema Podcast Podcast episode 283 - Godzilla Vs Kong This week we discuss the recent passing of two Hong Kong legends, Ng Man Tat and Liu Kai Chi. It’s that time of year again, so Kevin has some news about the Hong Kong Intentional Film Festival. Finally for our film this week, it’s the Kaiju smackdown GODZILLA VS KONG. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

ESWS 282 - Coming 2 America Hong Kong Cinema Podcast Podcast episode 282 - Coming 2 America On this episode, we discuss the new season (12) line-up for Asian Pop Up Cinema, and the trailer for a new pandemic themed Hong Kong film. Then we put our nostalgia goggles on with a look at the new sequel from Eddie Murphy, COMING 2 AMERICA. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

ESWS 281 - Shockwave 2 拆彈專家2 Hong Kong Cinema Podcast Podcast episode 281 - Shockwave 2 拆彈專家2 We're into the Lunar New Year holiday, and cinemas in Hong Kong are back open. On this week's episode, we discuss celebrating the Year of the Ox in lockdown, Hong Kong film discussions on the new Clubhouse app and some Lunar New Year film releases coming to Netflix in the not too distant future. Then Kevin gives us a review of Herman Yau's unrelated sequel SHOCKWAVE 2 拆彈專家2. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

ESWS 280 - Leap Hong Kong Cinema Podcast Podcast episode 280 - Leap On this episode, we discuss what we've been watching so far in 2021 as well as some things we are looking forward to later in the year. Then we jump into Peter Chan's volleyball epic LEAP . visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

ESWS 279 - Looking Back at 2020 Hong Kong Cinema Podcast Podcast episode 279 - Looking Back at 2020 As 2020 draws to a close, we look back at the year that was, and what we look forward to in 2021. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

Part Three of the Chinese Cinema trilogy is a panel discussion of late 20th century Hong Kong cinema. I asked my panel of experts to list their favorite Hong Kong movies of the 1980s and 90s. Lisa Morton is a screenwriter, author of non-fiction books, Bram Stoker Award-winning prose writer, and a Halloween expert. One of her non-fiction books includes The Cinema of Tsui Hark (the first comprehensive study of the influential Hong Kong filmmaker). Joey O'Bryan was a long time critic who wrote hundreds of detailed reviews of Hong Kong films, as a Screenwriter he has written films for Johnnie To (Fulltime Killer starring Andy Lau) and Ryuhei Kitamura (Downrange). Our final panelist is Jeff Briggs who works in the Warner Brothers archives and is a Hong Kong Film expert. •You can find my books here: https://bookshop.org/contributors/david-agranoff Amazon-https://www.amazon.com/David-Agranoff/e/B004FGT4ZW •And me here: Goodreads-http://www.goodreads.com/author/show/2988332.David_Agranoff Twitter-https://twitter.com/DAgranoffAuthor Blog-http://davidagranoff.blogspot.com/

Karen Fang is a film scholar and cultural critic who writes about the intersection of eastern and western aesthetics in global culture. She is the author of the book, “Arresting Cinema: Surveillance in Hong Kong Film”; Professor in the Department of English at the University of Houston; a founder and chair of a college-level initiative in Media and the Moving Image. In addition, Karen has become a regular contributor to the nationally broadcast public radio program, “The Engines of Our Ingenuity”. She is currently working on a book about “Bambi” artist and Disney Legend Tyrus Wong. Karen also initiated and helped Produce a short documentary on Tyrus’s friend and contemporary, the pioneering immigration attorney Y.C. Hong.

ESWS 277 - On Benny Chan Hong Kong Cinema Podcast Podcast episode 277 - On Benny Chan A discussion on the directorial work of the late Benny Chan. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

ESWS 278 - Kiki's Delivery Service (2014) Hong Kong Cinema Podcast Podcast episode 278 - Kiki's Delivery Service (2014) It's nearly All Hallow's Eve 2020 and Kenneth Brorsson, of the Podcast on Fire network, joins the show once more to talk about Kiki's Delivery Service. And to help us better understand Miss Witch, we take deep dive into the novel by Eiko Kadono, the classic anime from Hayao Miyazaki, and the 2014 live action adaptation. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

ESWS 276 - Go Back to China Hong Kong Cinema Podcast Podcast episode 276 - Go Back to China On this episode Kenneth Brorsson, of the Podcast on Fire network, climbs into the jump-seat to talk about director Emily Ting's second feature film GO BACK TO CHINA (2019). visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

ESWS 275 - Tigertail Hong Kong Cinema Podcast Podcast episode 275 - Tigertail We're back after a year-long hiatus. This week we Kevin and I discuss some of the things we've been watching during the pandemic lockdown, including TERRACE HOUSE: TOKYO 2019-2020, FRUITS BASKET, and THE CHEF SHOW. Finally we give a review of the new Netflix feature from Alan Yang, TIGERTAIL. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

Adapting a narrative to resonate with different audiences is a major challenge for film industry players. iQIYI Pictures Producer Zozo Zuo joined a panel at the Hong Kong Film & TV Market (FILMART) 2019 to discuss her experience fine-tuning films for audiences in Mainland China and overseas. Her advice? Do what's best for the story.

Bangkok-based the Monk Studios boasts a team of over 200 artists. The company saw healthy demand for their animation and visual effects services at the Hong Kong Film and Television Market (FILMART) 2019, where Business Development Outsourcing Manager Danop Dharmaraksa shares that he ran out of a full stack of business cards. China is becoming an increasingly important market for the Thai studio.

Toast & Brew Studios fit right in against a backdrop of ASEAN exhibitors at the Hong Kong Film and Television Market (FILMART) 2019. The Greater Bay Area generated plenty of buzz at this year’s edition. Magoo Del Mundo, who manages strategy and engagement at the Philippine animation studio, believes the initiative will benefit other countries in the region beyond Hong Kong and China.

ESWS 274 - East Screen: THE WANDERING EARTH [流浪地球] West Screen: ALITA: BATTLE ANGEL Hong Kong Cinema Podcast Podcast episode 274 - East Screen: THE WANDERING EARTH [流浪地球] West Screen: ALITA: BATTLE ANGEL] 2 This week we discuss the state of physical media today. Kevin Talks film festivals in Osaka and Amsterdam. and for our films this week it's the Hollywood manga to screen adaptation ALITA: BATTLE ANGEL and the Chinese sci-fi blockbuster THE WANDERING EARTH [流浪地球] Show notes and details can be found at our main website. visit us at www.kongcast.com or email us at eastscreen@gmail.com As always, thanks for listening!

Today I interview Joe Fiorello – an American director/actor based in Hong Kong. He talks about crowdfunding an independent film and the problem with Hong Kong actresses (hint – most get married and retire at 30). He also finds it odd that to get screened... The post 013: Director Joe Fiorello – Crowdfunding a Hong Kong Film appeared first on The China-Hollywood Greenlight.