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The Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 78 Your Guide to the 3rd Hong Kong On Screen Film Festival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...
2025-08-2231 minHong Kong Trail Running2025-07-171h 18The Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 73: Interview w/ Hong Kong Film Festival Australia Organiser Cicely and Volunteer Hester [Cantonese]Ep73: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 inf
2025-06-0257 minThe Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 71: Interview with Irene Chan, Director of the Toronto Hong Kong Club [Cantonese]Ep71: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
2025-05-2933 minThe Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 64: Hong Kong Film History Pt. 7 w/ Po Fung (蒲鋒) [Cantonese]「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 esta...
2024-08-191h 29The Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 63: Hong Kong Film History Pt. 6 w/ Po Fung (蒲鋒) 3/3 [Cantonese]「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-receive
2024-05-311h 30The Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 62: Hong Kong Film History Pt. 6 w/ Po Fung (蒲鋒) 2/3 [Cantonese]「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 topi
2024-05-2852 minThe Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 59: Hong Kong Film History Pt. 6 w/ Po Fung (蒲鋒) 1/3 [Cantonese]「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 di...
2024-05-201h 16The Hong Kong Football Podcast2024-01-1336 minThe Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 54: Hong Kong Film History Pt. 5 w/ Po Fung (蒲鋒) 3/3 [Cantonese] 「香港電影史導論 Podcast第五集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第五集「香港電影在1960年代的變遷」 討論大網: 1960年代的香港影業基本上延續1950年代,主要的導演和編劇都是1950年代初已入行的一批,創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面,類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影,也有關心下一代會否學壞的青春片,並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面,經濟成長也造就一種追求個性解放的心態,造就了張徹以陽剛為號召的武俠片,從而把香港電影以至中國電影的女明星主導的傳統徹底改變。 在這第五集的podcast, 我們一共分開三節,每節的主題如下: 5.1  60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。 5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影,另外我們也重點討論了楚原和龍剛的電影 5.3 60年代電影產業的一些特有現象,以及六七暴動和無線電視廣播對香港電影的影響,及至最後香港粵語片停產的原因。 Outline of Introduction to Hong Kong Film Industry Podcast Part 5 About this series of podcasts, please check here. Episode 5: “Changes in Hong Kong Cinema in the 1960s” The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.  However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.  For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.  As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of fe...
2023-12-251h 10The Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 53: Hong Kong Film History Pt. 5 w/ Po Fung (蒲鋒) 2/3 [Cantonese] 「香港電影史導論 Podcast第五集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第五集「香港電影在1960年代的變遷」 討論大網: 1960年代的香港影業基本上延續1950年代,主要的導演和編劇都是1950年代初已入行的一批,創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面,類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影,也有關心下一代會否學壞的青春片,並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面,經濟成長也造就一種追求個性解放的心態,造就了張徹以陽剛為號召的武俠片,從而把香港電影以至中國電影的女明星主導的傳統徹底改變。 在這第五集的podcast, 我們一共分開三節,每節的主題如下: 5.1  60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。 5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影,另外我們也重點討論了楚原和龍剛的電影 5.3 60年代電影產業的一些特有現象,以及六七暴動和無線電視廣播對香港電影的影響,及至最後香港粵語片停產的原因。 Outline of Introduction to Hong Kong Film Industry Podcast Part 5 About this series of podcasts, please check here. Episode 5: “Changes in Hong Kong Cinema in the 1960s” The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.  However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.  For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.  As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of fe...
2023-12-181h 27\2023-12-0701 min\2023-12-0601 minThe Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 50: Hong Kong Film History Pt. 5 w/ Po Fung (蒲鋒) 1/3 [Cantonese] 「香港電影史導論 Podcast第五集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第五集「香港電影在1960年代的變遷」 討論大網: 1960年代的香港影業基本上延續1950年代,主要的導演和編劇都是1950年代初已入行的一批,創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面,類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影,也有關心下一代會否學壞的青春片,並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面,經濟成長也造就一種追求個性解放的心態,造就了張徹以陽剛為號召的武俠片,從而把香港電影以至中國電影的女明星主導的傳統徹底改變。 在這第五集的podcast, 我們一共分開三節,每節的主題如下: 5.1  60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。 5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影,另外我們也重點討論了楚原和龍剛的電影 5.3 60年代電影產業的一些特有現象,以及六七暴動和無線電視廣播對香港電影的影響,及至最後香港粵語片停產的原因。 Outline of Introduction to Hong Kong Film Industry Podcast Part 5 About this series of podcasts, please check here. Episode 5: “Changes in Hong Kong Cinema in the 1960s” The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.  However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.  For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.  As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of fe...
2023-12-051h 21The Hong Kong On Screen Podcast2023-09-1651 minThe Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 33: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 5/5 [Cantonese]「香港電影史導論 Podcast第三集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第三集:「中聯作為電影運動對粵語片的變革作用」 在這第三集的podcast, 我們一共分開五節,每節的主題如下:廈語片/ 潮語片的發展和特色 (Ep. 29);中聯影業成立的原因和創作理念 (Ep. 30);中聯的發展和其代表作 (Ep. 31);中聯的影響和著名明星 (Ep. 32);中聯如何令粵語戲曲片誕生(Ep. 33)。 討論大網: 香港影業除了政治的左右對壘,還有國粵語兩個相對獨的影壇,各有其特色和發展。其實香港除了有國粵語片之外,還有鮮為人知的廈語片及潮語片生產,出口多個東南亞有華僑的國家,其文化影響力遠比一般人所知為廣。 戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司,但它實際上是一個左派電影運動,用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠,除了衍生出多家理念上類似的影片公司,它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流,都有著重大貢獻,即使到六十年代後期中聯結束後,其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜,它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。 Outline of Introduction to Hong Kong Film Industry Podcast Part 3 About this series of podcasts, please check here.   Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films In this third episode of the podcast, we have five segments, each focusing on the following topics;The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33). Episodes Outline: Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
2023-08-091h 05The Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 32: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 4/5 [Cantonese]「香港電影史導論 Podcast第三集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第三集:「中聯作為電影運動對粵語片的變革作用」 在這第三集的podcast, 我們一共分開五節,每節的主題如下:廈語片/ 潮語片的發展和特色 (Ep. 29);中聯影業成立的原因和創作理念 (Ep. 30);中聯的發展和其代表作 (Ep. 31);中聯的影響和著名明星 (Ep. 32);中聯如何令粵語戲曲片誕生(Ep. 33)。 討論大網: 香港影業除了政治的左右對壘,還有國粵語兩個相對獨的影壇,各有其特色和發展。其實香港除了有國粵語片之外,還有鮮為人知的廈語片及潮語片生產,出口多個東南亞有華僑的國家,其文化影響力遠比一般人所知為廣。 戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司,但它實際上是一個左派電影運動,用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠,除了衍生出多家理念上類似的影片公司,它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流,都有著重大貢獻,即使到六十年代後期中聯結束後,其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜,它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。 Outline of Introduction to Hong Kong Film Industry Podcast Part 3 About this series of podcasts, please check here.   Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films In this third episode of the podcast, we have five segments, each focusing on the following topics;The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33). Episodes Outline: Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
2023-07-3038 minThe Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 31: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 3/5 [Cantonese]「香港電影史導論 Podcast第三集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第三集:「中聯作為電影運動對粵語片的變革作用」 在這第三集的podcast, 我們一共分開五節,每節的主題如下:廈語片/ 潮語片的發展和特色 (Ep. 29);中聯影業成立的原因和創作理念 (Ep. 30);中聯的發展和其代表作 (Ep. 31);中聯的影響和著名明星 (Ep. 32);中聯如何令粵語戲曲片誕生(Ep. 33)。 討論大網: 香港影業除了政治的左右對壘,還有國粵語兩個相對獨的影壇,各有其特色和發展。其實香港除了有國粵語片之外,還有鮮為人知的廈語片及潮語片生產,出口多個東南亞有華僑的國家,其文化影響力遠比一般人所知為廣。 戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司,但它實際上是一個左派電影運動,用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠,除了衍生出多家理念上類似的影片公司,它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流,都有著重大貢獻,即使到六十年代後期中聯結束後,其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜,它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。 Outline of Introduction to Hong Kong Film Industry Podcast Part 3 About this series of podcasts, please check here.   Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films In this third episode of the podcast, we have five segments, each focusing on the following topics;The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33). Episodes Outline: Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
2023-07-1659 minThe Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 30: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 2/5 [Cantonese]「香港電影史導論 Podcast第三集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第三集:「中聯作為電影運動對粵語片的變革作用」 在這第三集的podcast, 我們一共分開五節,每節的主題如下:廈語片/ 潮語片的發展和特色 (Ep. 29);中聯影業成立的原因和創作理念 (Ep. 30);中聯的發展和其代表作 (Ep. 31);中聯的影響和著名明星 (Ep. 32);中聯如何令粵語戲曲片誕生(Ep. 33)。 討論大網: 香港影業除了政治的左右對壘,還有國粵語兩個相對獨的影壇,各有其特色和發展。其實香港除了有國粵語片之外,還有鮮為人知的廈語片及潮語片生產,出口多個東南亞有華僑的國家,其文化影響力遠比一般人所知為廣。 戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司,但它實際上是一個左派電影運動,用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠,除了衍生出多家理念上類似的影片公司,它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流,都有著重大貢獻,即使到六十年代後期中聯結束後,其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜,它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。 Outline of Introduction to Hong Kong Film Industry Podcast Part 3 About this series of podcasts, please check here.   Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films In this third episode of the podcast, we have five segments, each focusing on the following topics;The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);The growth of Union and its representative works (Ep. 31);The influence of Union and its famous stars (Ep. 32);How Union contributed to the birth of Cantonese opera films (Ep. 33). Episodes Outline: Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.
2023-07-1346 minThe Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 29: Hong Kong Film History Pt. 3 w/ Po Fung (蒲鋒) 1/5 [Cantonese]「香港電影史導論 Podcast第三集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第三集:「中聯作為電影運動對粵語片的變革作用」 在這第三集的podcast, 我們一共分開五節,每節的主題如下:廈語片/ 潮語片的發展和特色 (Ep. 29);中聯影業成立的原因和創作理念 (Ep. 30);中聯的發展和其代表作 (Ep. 31);中聯的影響和著名明星 (Ep. 32);中聯如何令粵語戲曲片誕生(Ep. 33)。 討論大網: 香港影業除了政治的左右對壘,還有國粵語兩個相對獨的影壇,各有其特色和發展。其實香港除了有國粵語片之外,還有鮮為人知的廈語片及潮語片生產,出口多個東南亞有華僑的國家,其文化影響力遠比一般人所知為廣。 戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司,但它實際上是一個左派電影運動,用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠,除了衍生出多家理念上類似的影片公司,它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流,都有著重大貢獻,即使到六十年代後期中聯結束後,其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜,它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。 Outline of Introduction to Hong Kong Film Industry Podcast Part 3 About this series of podcasts, please 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
2023-07-091h 07The Hong Kong On Screen Podcast2023-06-011h 36Made in Hong Kong2023-05-2050 minMade in Hong Kong2023-04-291h 01The Hong Kong On Screen Podcast2023-04-2839 minThe Hong Kong On Screen Podcast
The Hong Kong On Screen PodcastEp. 22: Hong Kong Film History Pt. 1 w/ Po Fung (蒲鋒)[Cantonese]2009年香港政府曾大張旗鼓舉辦了多項慶祝香港電影100年的活動,最有意義也最反諷的一項活動是香港電影資料館在年底舉辦的一次學術研討會,因為有學者在會上提出有力證據,一百年之前的1909年那一年並沒有拍出第一部香港電影,第一部香港電影應該出現在1914年。第一部香港電影的討論是件既有趣也深具啟發性的歷史考據。出現了第一部電影並不等於會出現一個興旺的影業。香港能在1930年代發展出一個僅次於上海的華語電影影業,實受著中國政治、經濟、文化等因素強烈影響,其中邵氏兄弟又起著至今還未被足夠認真看待的重要作用。 The Hong Kong government commemorated the centenary of the Hong Kong cinematic industry with a range of activities in 2019. Perhaps the most significant yet ironic event was the academic symposium held by the Hong Kong Film Archive at the end of the year. In the symposium, a scholar presented concrete evidence to challenge the long-held consensus that the first Hong Kong film was produced in 1909. Instead, the scholar suggested the first film was produced five years later, in 1914. This discussion was an exciting and thought-provoking example of a scholarly endeavor in Hong Kong’s cinematic history.  While the first film marked a milestone in Hong Kong history, it did not suggest the industry was vibrant during the initial stage. In the 1930s, Hong Kong finally established its Mandarin film industry, only second to Shanghai. Its development could be attributed to various factors, including Chinese politics, economy, and culture. In part, Shaw Brothers Studio, a local film production company, played an influential yet less-known role in the industry.  ...
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