![Ep. 59: Hong Kong Film History Pt. 6 w/ Po Fung (蒲鋒) 1/3 [Cantonese]](https://is5-ssl.mzstatic.com/image/thumb/Podcasts122/v4/43/ac/27/43ac2700-82c4-25ad-877d-82d0eb5bd8c5/mza_5338739642316942689.jpg/250x250bb.jpg)
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Ahead of the Los Angeles Premiere of this year’s Teddy Award-winning film ALL SHALL BE WELL, we interview director Ray Yeung and producer Teresa Kwong on their take on the story and style of the film, the journey of bringing the film to screen, and the film’s unlikely connections to Johnnie To and Wong Kar-wai!
2nd Hong Kong On Screen Film Festival – All Shall Be Well
Date: September 7, 2024 (Sat)
Time: 7:00 PM
Location: Starlight Whittier Village Cinemas
Get your tickets here!
Movies mentioned:
All Shall Be Well《從今以後》
Suk Suk (Twilight’s Kiss)《叔·叔》
Five Easy Pieces《輪流傳》
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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導演周冠威稱《幻愛》為他的首部個人長篇電影，儘管在此之前他已完成《一個複雜的故事》以及香港金像獎最佳電影《十年》中的「自焚者」短片。銀幕·香港非常榮幸將《幻愛》納入第二屆「銀幕·香港電影節」的線上放映名單，該片於2024年8月25日美國西岸時間凌晨至9月1日晚上11:59期間免費開放全球觀眾觀看。此外，還附有周導演為登記觀眾錄製的短片介紹，反應熱烈。我們感謝所有觀眾的支持，特別感謝那些慷慨捐款的人士！
在本集podcast中，我們回顧了周導演參與的所有電影，並提到他最近在台灣完成的合拍片，這也是他首部以非粵語拍攝的「香港電影」。聽眾還可以收聽我們製作的第12集和第13集podcast，其中我們詳細討論了導演的金馬獎得獎作品《時代革命》。
Director Chow Kwun-wai describes *BEYOND THE DREAM* as his first personal feature-length film, although he had previously completed *A COMPLICATED STORY* and the "Self-immolator" short in *TEN YEARS*, which won Best Film at the Hong Kong Film Awards. Hong Kong On Screen is honored to include *BEYOND THE DREAM* in the second "Hong Kong On Screen Festival" online screening lineup. The film was free for global viewing from August 25, 2024, at midnight Pacific Time until 11:59 p.m. on September 1, 2024. Additionally, a short introduction by Director Chow, explicitly recorded for registered viewers, has been included, and an enthusiastic response has been received. We thank all viewers for their support, especially those who generously donated!
In this podcast episode, we review all the films in which Director Chow has been involved and mention his recent co-production in Taiwan, which is also his first "Hong Kong film" shot in a non-Cantonese language. Listeners can also check out episodes 12 and 13 of our podcast, where we discuss in detail his Golden Horse Award-winning work, *REVOLUTION OF OUR TIMES*.
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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 [email protected].
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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Fehlende Folgen?
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「香港電影史導論 Podcast第七集」討論大網
有關這系列的Podcast, 詳情請看這裡。
第七集「無線電視廣播的衝擊及『香港地』『香港人』意識的明顯出現」
討論大網：
1967年無線電視開始，到1970年代電視成了深入民心的娛樂和資信媒介。其後原本有線廣播的麗的也轉為無線廣播。香港電影也受到電視冒起的直接影響。電視上成功的節目被改編成電影，電視也成了電影人材的培訓地，成功的電視人紛紛被引進電影圈。電視上的戲劇節目和新聞節目也建立了一個清晰的香港人身份認同。以粵語作廣播的電視甚至幫助香港電影由國語主導轉變成粵語主導。香港電影也在1970年代完成了世代交替，上一輩編導多在1970年代退下火線，在香港成長的新一代影人紛紛接棒，單以電影界出身的，吳思遠、洪金寶、吳宇森都開始建立他們穩固的導演地位。新一代影人之外還有新的類型，功夫片、警匪片、黑幫片、賭千片等過去沒有的類型也在1970年代成型。
---------
Outline of Introduction to Hong Kong Film Industry Podcast Part 7
About this series of podcasts, please check here.
Episode 7: “TVB’s Impact on the Emergence of ‘Hong Kong’ and the ‘Hong Konger’ Identity"
Television Broadcasting Limited (TVB) was founded in 1967 and had, by the 1970s, become a popular and influential entertainment and information program in Hong Kong. Even Hong Kong cinema was directly influenced by the rise of television. Television soon became a training ground for talent in the film industry: successful televisions were often adapted into movies, and it was common for successful television personnel to be introduced into the film industry. Television dramas and news programs also established a distinctive identity for the people of Hong Kong. Cantonese Television even helped shift Hong Kong Cinema’s market from being a Mandarin-dominated market to being Cantonese-dominated. In the 1970s, Hong Kong cinema completed a generational transition, with the previous generation of directors and writers retiring from the scene and a new generation of filmmakers from Hong Kong taking over. Notable directors who emerged from this period include John Woo, Sammo Hung, and Tsui Hark, who all established themselves as leading figures in the industry. In addition to new filmmakers, new film genres such as martial arts films, crime films, gangster films, and gambling films also emerged in the 1970s, which had not been seen before.
******************
Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/
This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which was a collaboration with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at [email protected].
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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「香港電影史導論 Podcast第六集」討論大網
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？
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：---------
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?
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:
******************
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 [email protected].
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
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？
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：
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?
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:
******************
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 [email protected].
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 -
《填詞L》已於5月25日於Starlight Whittier Village Cinemas 下午3點放映 🎬✨，多謝入場觀賞電影的朋友 💖，另外也多謝導演黃綺琳和監製黃鐦親身來到現場跟我們分享 🙏。
在這一集podcast，我們跟導演主要討論了電影拍攝初衷 🎥，選景的邏輯 📍，拍攝期間的挑戰 💪，以及對填詞夢的最終結果有什麼看法 🎶。
係呢度聽：https://hkonscreen.firstory.io/ 🎧
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"The Lyricist Wannabe" was screened on May 25th at 3:00 PM at Starlight Whittier Village Cinemas 🎬✨. We thank everyone who came to watch the film 💖 and special thanks to director Norris Wong and producer Hoi Wong for coming in person to share with us 🙏.
In this episode of the podcast, we mainly discussed with the director the initial inspiration for making the film 🎥, the logic behind choosing locations 📍, the challenges faced during filming 💪, and their thoughts on the outcome of the dream of becoming a lyricist 🎶.
Listen here: https://hkonscreen.firstory.io/ 🎧
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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 [email protected].
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
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？
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：
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?
---------
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:
******************
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 [email protected].
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 -
《填詞L》將於5月25日於Starlight Whittier Village Cinemas 下午3點放映，詳情請到：https://www.hkonscreen.org/lyricist 🎬✨
在這一集podcast，我們跟導演主要討論了《填詞L》票房終於達到700萬 💸，從很㥬惶到最終收回成本的心情 😰😅。另外，導演因為參與了Netflix劇集《此時此刻》的製作，我們於是也討論了台灣與香港電影／電視製作的分別 🎥🇹🇼🇭🇰，還有從政府資助的首部劇情電影計劃到自資拍攝電影，再到參與高成本的跨國製作 🌏🎬，當中的又體味到什麼呢？
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"The Lyricist Wannabe" will be screened on May 25th at 3:00 PM at Starlight Whittier Village Cinemas. For more details, please visit: https://www.hkonscreen.org/lyricist 🎬✨.
In this podcast episode, we mainly discussed with the director about the box office of "The Lyricist Wannabe,” which finally reached 7 million 💸, from being very anxious 😰 to eventually breaking even 😅. Additionally, because the director participated in the production of the Netflix series "At the Moment," we also discussed the differences between film/television production in Taiwan and Hong Kong 🎥🇹🇼🇭🇰. Moreover, we discussed the experiences gained from the government's First Feature Film Initiative, which involved self-financed film production and participation in high-budget international productions 🌏🎬.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at [email protected].
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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🎙️📽️🌸 在這一集podcast，主持人跟導演圍繞紀錄片《白孃孃：一朶遲桂花》討論了以下幾點：
🔍 埋藏了52年的錄影帶是如何發現？影帶錄下了什麼呢？這個發現跟潘迪華（潘姐姐）有什麼關係呢？
👩🎤 《白孃孃》究竟是什麼呢？潘姐姐對這套音樂劇有什麼期望呢？
🎭 我們是從那裡認識潘姐姐呢？
🎬 潘姐姐喜歡演戲嗎？她是演員還是歌星？
💡 在製作這個紀錄片的過程中，最困難的是什麼呢？
🌍 最終能把這套紀錄片帶給海外的觀眾，導演會有什麼期望呢？
📅 潘組姐的個人紀錄片什麼時候推出呢？內容有些什麼呢？
🎥 這部紀綠片會在5月29日下午4時於McCormick Screening Room, UC Irvine 免費放映，導演會親身出席映後訪談，請觀眾撥冗出席。
🎟️ 請情可看這裡：https://www.hkonscreen.org/painiangniang-chi
🎙️📽️🌸 In this episode of the podcast, the host and the director discussed the following points regarding the documentary "Pai Niang Niang: The Last Osmanthus Blossom":
🔍 How was the videotape buried for 52 years discovered? What was recorded on the tape?
👩🎤 What is this discovery related to Rebecca Pan (Sister Pan)? What is "Pai Niang Niang"? What are Sister Pan's expectations for this musical?
🎭 How did we first know Sister Pan?
🎬 Does Sister Pan like acting? Is she an actress or a singer?
💡 What was the most challenging part of making this documentary?
🌍 What are the director's expectations for finally bringing this documentary to overseas audiences?
📅 When will Sister Pan's documentary be released? What does it contain?
🎥 This documentary will be screened for FREE at the McCormick Screening Room, UC Irvine, on May 29th at 4 pm. The director will personally attend a post-screening interview. Please make time to attend!
🎟️ Free ticketing information: https://www.hkonscreen.org/painiangniang
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at [email protected].
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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《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 [email protected].
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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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
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「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 [email protected].
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 [email protected].
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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🕵️ 🔎 👁️🗨️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.
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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 [email protected].
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
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🎞️🎞️🎞️ 早前在「銀幕香港Indie電影網上展」，一連展出了三部崔允信的作品，分別是《無花果》(2013)、《憂憂愁愁的走了》(2002)以及《三條窄路》(2009)，在這一集，我們跟導演詳談了三部電影的創作過程，以及今天當下觀賞這三部舊作的意義。討論的問題眾多，例如：
👉電影裡面的宗教意識相當明顯，導演自已是有宗教信仰呢？
👉三部電影均有外地取景，當年拍攝時有遇到困難嗎？
👉是不是一直只會拍獨立製作？
👉《憂憂愁愁的走了》還有另一個結局？
👉為什麼拍電影要趁年輕盡快拍？
👉這三部獨立電影有在香港或其他地方公開放映過嗎？
👉導演是如何根據劇本去拍攝電影呢？
👉三部電影的文本可以互讀嗎？
👉往後還有拍攝計劃嗎？
👉海外華人可以如何支持香港的獨立製作呢？
🎞️🎞️🎞️ Earlier, in the 'HKOS Indie Film Online Showcase,' we showed three films from director Vincent Cui: 'Fig' (2013), 'Leaving in Sorrow' (2002), and 'Three Narrow Gatess' (2009).
In this episode, we discussed the creative process of these three films and the significance of watching these works today with the director. Many questions were discussed, such as:
👉 The religious consciousness inside the films is quite prominent. Does the director himself have a religious belief?
👉 All three films were shot in locations outside Hong Kong. Did the director encounter any difficulties during the filming?
👉 Does the director only focus on independent productions?
👉 Does 'Leaving in Sorrow' have an alternate ending?
👉 Why should one make movies when young and as soon as possible?
👉 Have these three independent films been publicly screened in Hong Kong or elsewhere?
👉 How does the director shoot films based on the script?
👉 Can the texts of these three films be read about each other?
👉 Are there any future film projects?
👉 How can overseas Chinese support independent productions in Hong Kong?
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at [email protected].
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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「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 [email protected].
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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《消失的檔案》(2017) 是其中一部在「銀幕·香港」香港Indie電影網上展放映的電影 (詳情：https://www.hkonscreen.org/indie-home）。
在這一集Podcast, 羅恩惠導演談到在《消失的檔案》拍攝過程中追溯到的在這一歷史事件中扮演重要角色的一些人，以及影片在製作後期及放映時遇到的一些困難和回瞶。
（1）吳荻舟在六七暴動中扮演的重要角色
（2）參加六七暴動的人呈現出很不同的面目：廖一原，羅孚，劉文成，曾宇雄，梁慕嫻... 15:00
（3）影片製作後期遇到的困難及放映過程中觀眾的回瞶 1:02:00
（4）香港作為殖民地與六七暴動的關係？為什麼六七暴動不是反殖運動？1:14:00
Vanished Archives (2017) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home).
In this episode, the Director of "Vanishing Archive" details some important incidents and characters she discovered about the 1967 Riot. Director Connie Yan-wai Lo also recounts some difficulties and feedback she has encountered in the film's post-production and reception.
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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 [email protected].
Support the show: https://www.hkonscreen.org/giving
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《消失的檔案》(2017) 是其中一部在「銀幕·香港」香港Indie電影網上展放映的電影 (詳情：https://www.hkonscreen.org/indie-home）。
在這一集Podcast, 羅恩惠導演談到《消失的檔案》(2017) 這個紀錄片的創作源起，在2017六七暴動五十週年前後香港傳統左派重述歷史的企圖，以及導演在尋找材料和追訪的過程中發現的種種現存歷史敘述、訪問口敘、與檔案史料之間的差異。
（1）《消失的檔案》在當下放映的意義 4:00
（2）六七暴動與2019 的可比性，它對當下的警惕、共鳴、與連結 8:00
（3）在影片創作的過程中，2012-2017這幾年間，香港傳統左派在暴動五十週年前後如何敘述這段歷史？19:50
（4）影片製作過程：團隊，資金，與左派敘述的分歧 36:00
Vanished Archives (2017) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home).
In this episode, the Director of "Vanishing Archives (2017)" speaks to the origin of the project and the attempt by Hong Kong's traditional Leftists to revisit and rewrite the history of the 1967 Riot at the incident's 50th Anniversary in 2017. Most importantly, Director Connie Yan-wai Lo reveals what she has discovered about this history in the process of researching for the film, especially on the discrepancies between the narration of the traditional Left and what she has found in the archive.
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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 [email protected].
Support the show: https://www.hkonscreen.org/giving
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In this episode, director Cheuk Cheung joins us to discuss several aspects of his documentary Bamboo Theatre, including the behind-the-scenes process, his direct cinema stylistic choices, and the context of several important sections.
Bamboo Theatre is screening as part of HKOS’s Indie Film Online Showcase, from Oct. 30 to Nov. 5, 2023.
Films mentioned:
Bamboo Theatre《戲棚》
My Way《乾旦路》
My Next Step《一個武生》
Farewell My Concubine《霸王別姬》
Hu-Du-Men《虎度門》
Two Stage Sisters《舞台姐妹》
A City of Sadness《悲情城市》
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Why did the director choose the relatively unique topic of rare diseases? What was the inspiration behind making this documentary?Issues like drug policies, medical ethics, and public health can be pretty heavy and complex, often requiring much information for the general audience to understand. How did the director balance the different materials to engage the audience and keep them interested?Filmmaking, like life, is unpredictable. During the editing process, what challenges did the director face, and how did they select and arrange the materials?The film focuses on the caregiver community and their journey to advocate for their rights rather than solely depicting the severe conditions of rare disease patients. What was the reasoning behind this approach?The interviewees in the documentary are very candid and trusting in sharing their thoughts. How did the director establish this rapport?One of the core messages of the film is about speaking up for oneself and trying to bring about change. We see how the interviewees in the movie do this, but for the director, what does "speaking up" mean?The film ends with a stark visual contrast. What message does the director hope to convey with this ending?Previously, the film was screened locally in Hong Kong, and due to the pandemic, it may not have reached many viewers. With online screening, it can reach an international audience. What are the director's thoughts on this?Could you give us a glimpse of the director's upcoming film projects?
《3CM》(2019) 是其中一部在「銀幕·香港」香港Indie電影網上展放映的電影 (詳情：https://www.hkonscreen.org/indie-home）。《3CM》(2019)看似一個微不足道的距離，卻是結節性硬化症病人生死存亡的指標，影響他們能否得到合適的藥物。電影由兩位背景各異的病友媽媽的角度出發，走訪他們爭取生存權利和尊嚴的歷程，從而探討公共政策及社會公義等課題。《3CM》(2019)不只是罕見病病友的故事，也是香港人的故事。
「銀幕·香港 Podcast」在這一集邀請了《3CM》(2019)的導演黃肇邦一起討論了：
1. 為何導演揀選罕見病這個比較特別的題材？拍攝紀錄片的緣起是？
2. 藥物政策、醫療倫理、公共衛生等議題都相對沉重而複雜，亦需要很多資訊才能令到一般觀眾理解，導演又如何平衡不同素材，同時可以牽動觀眾，令人想繼續觀看呢？
3. 拍攝紀錄片就跟人生一樣無法預計，在剪輯過程中，遇到甚麼困難？如何選取、編排素材？
4. 電影把焦點放在照顧者社群和他們爭取權益的歷程上，而不是集中描繪罕見病病友的嚴峻病況，為何會有這樣的安排？
5. 紀錄片中被訪者都十分真誠和信任地講出心聲，導演是如何建立這份關係？
6. 電影其中一個核心訊息是為自己發聲、嘗試帶出改變。我們看到片中被訪者如何發聲，那麼對導演來說，何謂發聲？
7. 電影最後以一個對比鮮明的畫面作結，期望帶出甚麼訊息？
8. 之前在香港本地放映，受疫情所限未必能接觸到很多觀眾，是次網上放映則可以接觸到海外觀眾，導演有甚麼看法？
9. 可以透露一下接下來的電影項目嗎？
3CM (2019) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home). Despite its seemingly insignificant distance, 3CM (2019) serves as a crucial marker of life and death for patients with tuberous sclerosis, impacting their ability to access the proper medication. The film takes the perspective of two mothers from diverse backgrounds who embark on a journey to fight for their right to survival and dignity, thereby exploring issues related to public policy and social justice. 3CM (2019) is not only a story of rare disease patients but also a story of the people of Hong Kong.
In this episode, director Wong Siu-pong of 3CM (2019) joins the discussion to explore:
嘉賓主持：阿紗
Guest Host: Ah-Sha
Follow her @ https://www.instagram.com/hk.finger/
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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 [email protected].
Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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