The Hong Kong On Screen Podcast

《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

We interview director Lawrence Lau of Spacked Out on the impressionistic, romantic style of his film, working with Johnnie To, and what the hell “spacked out” actually means! Films mentioned: Spacked Out《無人駕駛》 Gangs《童黨》 Queen of Temple Street《廟街皇后》 Lee Rock《雷洛傳》 Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory 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

🕵️ 🔎 👁️‍🗨️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