Hong Kong Women Filmmakers

梁天琦同學林子穎 記錄同輩沉鬱

source: http://www1.hkej.com/dailynews/culture/article/1736684/%E6%A2%81%E5%A4%A9%E7%90%A6%E5%90%8C%E5%AD%B8%E6%9E%97%E5%AD%90%E7%A9%8E+%E8%A8%98%E9%8C%84%E5%90%8C%E8%BC%A9%E6%B2%89%E9%AC%B1


A news article about Nora Lam’s making of LOST IN THE FUMES.


A Tribute to Ms WONG Ain-ling, Renowned Film Critic in HK

A Tribute to Ms WONG Ain-ling, Renowned Film Critic in HK

Official tribute from the Hong Kong Film Critics Society

Bio of WONG Ain-Ling:
A renowned film critic and researcher. She held senior positions in film programming including the Head of Film Programming at the Hong Kong Arts Centre (1987-1990), Programmer of Asian Cinema at the Hong Kong International Film Festival (1990-1996), and Research Officer at Hong Kong Film Archive (2001-2009). Her extensive publications on Chinese language cinema include Xi Yuan (2000), Meng Yu Shuo Meng (2012), Fei Mu – Poet Director (ed., 1998), The Cathay Story (ed., 2002), The Shaw Screen: A Preliminary Study (ed., 2003), The Hong Kong/Guangdong Film Connection (ed., 2005), The Glorious Modernity of Kong Ngee (ed., 2006), and Zhu Shilin: A Filmmaker of His Times (ed., 2009), among others.




This collaborative project is an ongoing collective archive of interviews with feminist experimental filmmakers created in 2017 by feminist filmmaking students at UC Santa Cruz and UC Davis. Our students were invited to each select a filmmaker, research their work in detail, and invite the filmmaker to have a conversation with them. We encouraged our students to think about things like how to find their own creative role models, how to learn from listening, and how to learn from intergenerational feminist conversation. Most (though not all!) of these makers personally identify as both feminist and experimental makers, and many of these conversations invite the filmmakers to respond directly to those labels–sometimes in complicated ways. We hope that, over time, this website can continue to grow into a database and resource for others hoping to learn more about feminist filmmaking!

This project was co-created by students working with Irene Lusztig and Julie Wyman; Image: still from Athyrium filix-femina (for Anna Atkins) by Kelly Egan.





Source: http://www.dimsum-hk.com/losing-sight-of-a-longed-place/

About five months ago, I received a short animated Hong Kong film via email as a submission for the Hong Kong Lesbian and Gay Film Festival. Combined with a very poetic story about a gay man in Hong Kong, it was one of the most gorgeously animated films I have seen in a long time. Four months later, that film, LOSING SIGHT OF A LONGED PLACE, and its three filmmakers, Jess Wong, Ricky Wong and Shek Ka Chun, went from having their very first film have its world premiere at HKLGFF to winning the Golden Horse Award for Best Animated Short. We got the chance to ask one of the directors, Jess, about the film and winning the award.

Dim Sum: What was your Golden Horse Award experience like? 
Jess: It was our first time nominated for such scale of Film Arts Award. Golden Horse Award is being described as ‘Asia Oscar’, it has developed its authority and reputation by running over fifty years. From the perspective of watching it through livestream at home, to sitting in front of the stage that night, we were absolutely overwhelmed (with gratitude) by this once in a lifetime experience.

We never expect what we did for the past year could lead us to this stage. Meeting a lot of seniors and new friends, who are fully devoted to Film Industry and Arts. Most importantly gathering a group of people who enjoy the process of production and creation. By appreciating their works and exchanging our thoughts and ideas on issues that we care about, are something that helped us to clear up our mind, further determined our spirit on working in what we love, and promised to make a good use of it.

It was like a dream since nomination to standing on that stage. Getting recognition for this animation short film —  Losing Sight of a Longed Place, we believed that not just us, but the value of many of the others are being seen. Again we were really lucky and blessed to have received so many help and support by people around, so that we came over to this stage.

Dim Sum: Did you miss anything you wanted to say on the stage at Golden Horse? 
Jess: Yes, definitely. We were worried about overrunning the show. And also feeling completely blank in mind at that moment! There are lots of people that we have missed to acknowledge.

We would like to share the honor with our 9014 fellows — all the days and nights of hard working in 0413 are being paid off, I believed insistency is something that has deeply implanted in us. After all, things we have been through, let’s achieve our goals together and create animations that we enjoy!

To all our LGBT friends — thank you! Thank you for the trust in us. We have been receiving so much love from all of our friends. Without your support we could have never completed this task. Sometimes it’s not about our sexuality, but the common feelings that we all shared when we are living in the same society, facing same obstacles every day. No one should feel lonely as we are all equal, after all everyone shares same emotions as a human being. Thanks for teaching us to appreciate little things in life, feeling delightful is just as simple and direct!In the coming years, Tai Wan will be facing lots of challenges on constitution amendment for same-sex marriage. While each steps forward are crucial as it sets first example in Asia. Policy and supporting scheme are utmost important in this issue. We will need more attention worldwide, on-going discussions in our societies. Only if more people get involved and care about it, we then can make things better and sort out for solutions. Good things are always worth to wait.


Dim Sum: How did the three of you share the director duties?
Jess: Animation production are time and manpower consuming. As we are a relatively small scale of crew, basically three of us needs to be involved in all duties. Ideas development and script writing for voice over in this animation were the most challenging part. We have been working on 4 different versions before locking on the current last version. There are lots of interesting stories from Adam and our friends. But because of the consistency of our story within a short duration of time, we have to abandon many side stories and packed up with the current version.

Dim Sum: The screenplay is based on whose story and what made you decide to tell it? 
Jess: The screenplay is based on the actual life experiences of Adam Wan — Former Chairman of ActionQ, project executive of Midnight Blue. We decided to document Adam’s story as we shares similar thoughts towards our society, his multiple identities act as a presentative of many locals, including the three of us, to express our we feelings about our current societal situation, and struggles of coming-of-age. We hope that by illustrating Adam’s story, the audience could feel and think in the shoes of our generation.

Dim Sum: Who is your favourite animation artist? 
Jess: No any specific favourite. There are many excellent artists with their own personalized work. Akira by Katsuhiro Otomo, Perfect Blue by Kon Satoshi etc are incredible classic animations that gave great influences to many of the famous films, animations and artworks nowadays. With more online sharing platform commonly being used, works by many amazing animators around the world could be seen easily. We could share thoughts and ideas instantly and directly, which benefits a lot of creators.

Dim Sum: What do you think about the LGBT rights movement right now? 
Jess: I think the LGBT rights movement in Hong Kong is still falling behind than many other developing countries. In fact, sometimes I feel like less people care about such kind of issues when it is not something that connected to them. Many of us care about things only when we are part of the stakeholders. To push one movement further, it is important to have as many people involved in policymaking. It is hoped that nothing is being too late when we only deal with issues after incidents or any lawsuit. We should bring up better proposals to continue to improve our current state, before people leaving things behind and never come back facing it. We should look for a better society by building it all together.

Dim Sum: What is next for you guys? 
Jess: Not sure yet. Right now we are still buffering from Tai Wan and would like to have more time to think about our future plans. We all hoped to keep working on what we love, but we surely need a working place, time and ideas on what to do next. I guess it is not something rush so we can give some time to each other. Please stay tuned and also feel free to brainstorm us!

Interview by Russell Boaz


source: http://www.cuhk.edu.hk/ics/rcccc/events/mov171211.html



日期:2017年12月11日 (星期一)
時間:7:00pm – 9:30pm
地點:香港中文大學 康本國際學術園 LT5
查詢:3943-8763 / 3943-7382

1955年5月,一場“肅清胡風反革命集團”運動席捲全中國,運動的中心人物胡風先生,曾在三、四十年代創辦了左翼雜誌《七月》和《希望》,是著名的文學理論家和詩人。 2003年起,彭小蓮和魏時煜開始走訪全部健在的胡風分子和他們的親屬,用了五年多的時間拍攝了二十多位案件的倖存者。 《紅日風暴》是第一部記錄“胡風案件”的影片,也是較早以個人視點拍攝、以獨立製作模式發行的歷史題材紀錄片。


24900118_760406657477847_3455731629941048768_nsource: https://www.facebook.com/StormundertheSun2009/photos/a.261305910721260.1073741830.236611106524074/760406657477847/?type=3&theater

【爆場紀錄片】拆解抑鬱暴食梁天琦 90後港導:這不是社運片是青春片

【爆場紀錄片】拆解抑鬱暴食梁天琦 90後港導:這不是社運片是青春片

source: https://hk.news.appledaily.com/local/realtime/article/20171204/57537408


記者 呂麗嬋香港政治風起雲湧,有關後傘運年代的文字及影像紀錄陸續面世,除了提名金馬獎又揚威日本影展的《亂世備忘》,新近就有紀錄片《地厚天高》熱播,首映及加場戲票均迅速售罄,在年輕人及社運圈子備受關注。導演林子穎前作《未境之路》鎖定兩位政治素人,包括港大學生會前會長馮敬恩在傘運後的轉變及反思,新作則對準立法會選舉後消聲匿跡、將於明年1月就三條暴動罪上庭的爭議人物梁天琦。「2016年2月,我去咗佢哋補選前嘅造勢晚會,印象好深刻,好似睇緊五月天演唱會,未見過香港人特別係年輕人,對一個政治人物可以咁熱情、投注咁多期許」。梁天琦總與港獨綑綁,影片上造勢大會上出現的獨立字眼,今日成了敏感詞,只一年多,本土派旋起旋滅,其時卻氣勢如虹,也是新東補選前後,高票落選的梁天琦人氣最盛之時。「嗰時直覺想拍呢個人,跟咗幾次,好多出嚟選係義無反顧,但佢俾我嘅感覺好唔同」。在她眼中,這個本土派支持者口中的英雄、主流社會眼底主張不惜暴力抗爭的「勇武派」,只是有血肉的平凡青年,經歷成長中的迷失,她自言這種情感,可以跨越藍黃、勇武與和理非之別。「嗰時《未境之路》做緊社區放映,喺映後座談我提到Billy(馮敬恩),話佢之前係素人,因校委會事件出咗名,經過所謂嘅政治洗禮,個人反而無咁開心」。林形容,那次是跟拍梁天琦的轉捩點。「天琦當晚就打咗(電話)俾我,可能覺得有人明白佢吧?」打開心扉的年輕政客,在宣稱「有得入閘食屎都得」的戲言下,仍失去參選資格,林說原擬拍攝梁天琦的「參選過程」,最後變成了「不能參選的過程」。她在「導演的話」這樣寫:「無論故事最終如何,我着眼的,仍是梁天琦的個人故事,包括他在閃光燈下所受的龐大壓力、選擇前後的自我質疑,對於自身及香港未來的迷惘、自由日子倒數無多的絕望,以及內心最純真的夢想」。追蹤政治人物,着眼點多是「成唔成功」,林子穎卻希望是「快唔快樂」,呈現的一個有別於公眾認知的梁天琦:在劏房自言自語的抑鬱症病人;愛打波和彈結他,期望為宿舍贏得馬來人盃榮譽的「大仙」。「每個人喺成長過程中,或許都曾經歷過嗰份迷失同掙扎」。由大學校園記者到畢業後仍矢志執起攝錄機紀錄香港,港大讀比較文學及法文、生於中產家庭的林子穎,其實本身已是一個被大環境牽引的「地厚天高」故事。大學二年級經歷雨傘運動,上莊成為校園電視記者即遇大時代,林子穎於學生時代參與製作的紀錄片《旺角黑夜》和《未境之路》,都與傘運有關。「我唔係一個好政治嘅人,但嗰個時空,就係咁政治」。爸爸在大學做研究,媽媽在醫院工作,有一個大兩歲、在英國做銀行的哥哥。如果沒有雨傘運動,小妮子會否也過着不一樣的人生?「可能會,但我哋呢代,眼前就係政治。」吊詭的卻是,家人都是不問政治的中產。「某程度藍絲亦關注同在乎,但香港好大部份人,根本漠不關心」。今年大學畢業,站在人生交叉點,行年22的她,希望繼續以影像和文字紀錄時代。「拍咗三套政治題材嘅紀錄片,好沉重,想轉拍輕鬆嘅劇情片,唔係灰心或者冷感,而係想試唔同嘅嘢」。年輕就是有無限可能,有權堅持也有權改變。「重要嘅,係你有選擇嘅自由」。小妮子如是說。

YP1967 – Hong Kong Ciné Club – First screening Can To’s YP1967

YP1967 РHong Kong Cin̩ Club

First screening
Can To’s

The Department of History invites you to a series of movie screenings related to the history of Hong Kong.

The first screening, YP1967, is a documentary film of six ex-young prisoners who face harsh realities of alienation, rejection and being forgotten, but have a few words to say after half a century of silence. Five decades later, in spite of the city’s 20th handover anniversary celebrations, six ex-young prisoners speak out for the first time about their personal and unmentionable experience. This documentary film is about their love and hate towards their country, their honour and dishonour as a convicted criminal, their condonation and condemnation of the parties involved, and their truthseeking and reconciliation with the past.

Can To (the director of YP1967) is an award-winning documentary film director and producer with twenty years’ experience working in the television and media industry. Before founding CANTO WORKS, she was a senior TV producer at RTHK where she produced over 20 episodes of the acclaimed documentary series Hong Kong Connection.

Can’s production has won great international acclaims for the last two decades. In 1998, Where Women Ruled, a documentary film on Moso Tribes in Yunnan Province in China won the New York International Film Festival Finalist Award. A War Without Guns, a documentary film about AIDS orphans in China, won the Silver Award of United Nations Department of Public Information (UNDPI) in 2005. In 2010, Little Photographer, an independent documentary film on children photographers in Sichuan province in China after 512 Earthquake, won the New York International TV and Film Festival GOLD Award.

Screening in Cantonese with English subtitles.

All are welcome. No registration is required.

Date/Time: 7/12/2017 19:00-21:30
Venue: Room 4.34, Run Run Shaw Tower, Centennial Campus
Language: English

For further information, please visit: http://www.history.hku.hk/news_s17event_cinehk.html

Design Dialogues Screening: Creativity Is

Screening of short film directed by Sharon Yeung

source: https://www.facebook.com/detourhk/photos/a.174272232652278.45098.174259675986867/1554222727990548/?type=3&theater

【deTour 2017 設計講座|Design Dialogue】🎞🎥影片放映及分享 Screening and Sharing 🎞🎥

《原來我》由香港獨立電影人楊曉芙執導,訪問六位不同領域的人物—— 心理學家、發明家、創業家、環保人士、瑜伽導師、空間設計師等,分享對「創意」的看法。只要學懂放下各種思維上的包袱,原來每一個人都是創造者。受訪者之一、發明家原田実將帶領放映後討論。

What is Creativity? Are you Creative? These are the two questions the film explores through a group of students and six individuals – a psychologist, a designer, a startup entrepreneur, an activist, an inventor and a yoga teacher.

The 25-minute film launches into a whirl through numerous ideas on creativity from how our mind works, to our obsessions and fears. It then explores the possibilities of what we can do to rediscover the creativity within ourselves. Followed by an open discussion lead by Cesar Harada.

策劃 Organiser:MakerBay
日期 Date :7/12(四/ Thu)
時間 Time: 6:30-8:00PM
放映作品 Screening Video:《原來我》
講者 Speaker: 原田 実(MakerBay 營運總裁)/ Cesar Jung-Harada(Director, MakerBay)

👉🏼講座及報名Design dialogue and registration: http://www.detour.hk/2017/programmes/?type=design-dialogues