《一國雙城》預告片 "One Nation, Two Cities" trailer

Monday, April 28, 2008

PEOPLE LIVING UNDERGROUND by Liu Rui Shao 劉銳紹《地下生活的一群》(英文翻譯)

People Living Underground, a review of All's Right with the World written by Mr. Liu Rui Shao
Original Chinese version published by Hong Kong Daily News
English translation published by Edwin Mak on his blog, Faster than Instant Noodles
English translation by Mei Ko

英文翻譯刊載於Edwin Mak的部落, Faster than Instant Noodles
英文翻譯:Mei Ko

People Living Underground
by Liu Rui Shao

As many people would acknowledge, Hong Kong is a paradise of prosperous economics sharing international reputation. Nevertheless, life in the paradise includes people who are blissful to enjoy the fortune, also people who work diligently but unable to share same blessing. Those unfortunate are the people living underground while happiness already abandoned them. They are the people have no choices but live on social welfare.

Recently, one director filmed the documentary All's Right With The World recording those miserable stories of various plights. I emphasize the word 'recording the truth', that is, 'recording' preserves the truth and bears more significance than the word "presenting the truth". In the documentary, an sorrowful grey-hair madam can not cope with her druggie son's corpse due to finance difficulty; "Whatever!" (she said) the house is even too small to place the cremains jar.

Another old man with distinct cheekbones usually carries poisons for any anxious moment to commit suicide. His relationship with family is extremely intense, and once nearly killed his family member. Life is somehow monstrous to them, drive them demented and desperate. The reality lies in the stories is so true, so honest and so frightening.

They are one part of 500,000 people who rely on Hong Kong social welfare; every life holds their own deplorable stories. I just cant help but wonder how many people's stories could be far more tragic than theirs.

Even people who don't live on HK social welfare don't necessarily guarantee a well-being life. According the current research, there are about 1.3 million people living on the edge or below the poverty line. The smiles on their faces quickly fade away resembling the fireworks on the Victoria Harbor. Some social workers said, there is even no flash of smile on many people's faces.

I have worked in journalism for thirty-five years, and always remind myself "don't be numb" How can human call themselves human if they were so apathetic as dead wood?

Friday, April 25, 2008

貧窮問題對談: 從《歌舞昇平》紀錄片看社會保障

貧窮問題對談: 從《歌舞昇平》紀錄片看社會保障












放映後設導演Q & A時間及自由分享交談。

Wednesday, April 23, 2008

朱門酒肉臭 - 陳焱

原刊於2008-04-22 信報專欄

  除了惡意的囤糧,部分大米訂戶、包括一些國家政府因擔心大米短缺,亦大增訂購大米的數量,遠超平常的購買量,曼谷主要大米出口商Riceland International的總裁表示:「這是恐慌,客戶要求購買平常數量兩倍的大米,我們無法找到足夠的供應來滿足需求。」  米價急漲,最苦的,當然是一眾貧苦。
  報道指香港最受歡迎的紅酒之一:Chateau Lafite Rothschild 2005目前每箱售價9600英鎊,較兩年前升3300英鎊;而網上美酒指數Liv-ex 100今年3月份已升至歷史高位,較去年同期升34%。一名倫敦紅酒商人表示,在香港取消紅酒關稅後的三十六小時,他已向香港及內地售出近230萬英鎊紅酒。
  這,許是「朱門酒肉臭 路有凍死骨」的現代版。為了令自己的良心好過一點,陳焱決定少喝兩枝紅酒,將金額捐助第三世界。

Tuesday, April 22, 2008

Wong Ka Jeng - my next documentary's subject 黃家正 - 我下一條紀錄片的主角

Frank Sonata for Violin and Piano
(It is NOT my footage; it was a TV program done by RTHK few years ago. I embed it from the lwkjl YouTube channel.)

Wong Ka Jeng - my next documentary's subject 黃家正 - 我下一條紀錄片的主角

Mendelssohn Violin Concerto
(It is NOT my footage; it was a TV program done by RTHK few years ago. I embed it from the lwkjl YouTube channel.)



Friday, April 18, 2008

Chen Hao's "Lucky You" 陳浩《福氣啦》(英文翻譯)

Lucky You, a review of All's Right with the World written by Mr. Chen Hao
Original Chinese version published by Chinatimes on September 20, 2007
English translation published by Edwin Mak on his blog, Faster than Instant Noodles
English translation by Mei Ko

英文翻譯刊載於Edwin Mak的部落, Faster than Instant Noodles
英文翻譯:Mei Ko

Lucky You
by Chen Hao

20070920 in Taiwan China Times

Director Cheung said, "there are no more poor.""We will not 'see' poverty in Hong Kong anymore"...

We always need to fill certain forms during school opening days, my youngest daughter loves to ask every time "is our family well-to-do?" Whenever my older daughter hears, she answers impatiently "Of course, what else could we be?" More often the case she would start to count her school mates' "finance" situations, adding gossip on her new classmates, and then speak to herself like "so everyone is in the competition, at least we are better than some others." I did feel upset while listening to her precocious speech, she sharply defines "wealthy" by visible material, and understands "fortune" without conscience and modesty. Is that a blessing for their generation to ignore or even neglect poverty?

Compared to my daughter, I always felt a bit scared at childhood when asking my parents to fill out school forms. I remember my mother's tears by heart that my brother hid his tuition fee notice in order to pay debts incurred by father's surgery. My mind is deeply shadowed by the fear that one day "the big tree" [translator's note - meaning family in Chinese] could fall apart. My parents are the diaspora generation, I am too familiar with their stories from affluent life to destitution, then struggling to build a family in troubled times. And our "poor" classmates revealed themselves by their lunch boxes rather than formally on official forms. "Poverty" is just next to our doors, it is on my way to school, on streets, on the edge of dikes, or on the side of the field. We are not separated from poverty, and it is even not below our class. The meaning of life is to remind us the vulnerability of ourselves and our neighbours. Have we already ruled out this kind of memory from our next generation's comprehension of the world?

Several days ago, I took a night cab. The driver started to talk about his story looking for a daytime job, his heartfelt tone moved me earnestly. "It's a school security job, 90 NTD per hour, and twelve hours per day. No pay on holidays. But there are so many days off in a month. In total, the monthly pay is merely ten thousands something. But I really want to take it, and drive cab for rest of time. My wife said I would be exhausted to death. I said, just for three years hardship, I can sweat till my kids graduating." I tried to persuade him giving up this idea by providing statical evidence, "it is unworthy!! if you crackup in sixties, who is going to take care the whole family? " My ride is less than 10 minutes; however, I didn't want to get off and we stopped at the road side discussing the possibility for his wife to get a job. Maybe he simply wanted a company to talk to, but at that moment I was bitten by my life memories all over again. When getting off, I gave him my best wishes sincerely. I knew his plight by heart, it's like walking on the floating ice; once he fell, the whole family would suffer more unbearable struggles.

My world is deeply connected with these issues currently, I watched ten documentaries under Mr. Jianxianbin's supervising production in the CNEX film festival. Especially All's Right With The World that tells us how the disadvantaged people face their "walking-on-floating-ice" life. The camera focuses the edge of Hong Kong city, beneath the glorious shopping paradise, filming the shabby houses in Lei Yue Men, silent corners in Shatin Village, and five families in old Shek Kip Mei including Sister Di, Madam Jinshui, Manling, Lava and other members. "It's like an endless predicament".

Director Cheung said, "there are no more poor." "We will not 'see' poverty in Hong Kong anymore". "The poor would no longer wear rags, yet the destitute and distress poverty still exists in everyday life among those grand skyscrapers and opulent communities"

Director Cheung's meant and heartfelt stories moved me earnestly as well. Furthermore, the best part of his movie is how he empathizes with such misery, and you don't need to lower you head to sympathize, to share your tears, and to donate for healing. He merely wants you to look at the injustice next door in an equal position. And you leave after seeing it, go back to your comfortable middle class life, and ticking the box of "well-to-do".

Friday, April 11, 2008

綜援的表述:社會作為競技場的管治 (堵建偉)

















「假摔」的生存 / 競爭伎倆(tactics)







詐騙綜援 難逃法網旁白:
其他球員: 「假摔呀!」
旁白: 但是,如果有人不守規則,蓄意欺騙,破壞社會公平,法律就絕對不會容忍。詐騙綜援,難逃法網。
熒幕蓋字: 詐騙綜援 難逃法網
舉報熱線:2332 0101社會福利署
旁白: 切勿以身試法!

自力更生 勿倚賴綜援
旁白: 在人生的競賽上,挫折難以避免,對於不幸的人,社會十分樂意提供援助。但是,如果有能力的人不去努力,
救護員: 「好,可以出場了!」
旁白: 只是倚賴援助,
球員: 「休息一下吧!」
旁白: 社會就會失去活力,難再繁榮。自力更生,勿倚賴綜援。
熒幕蓋字: 自力更生 勿倚賴綜援社會福利署
旁白: 一起努力吧!

Saturday, April 5, 2008

《台灣新竹市文化局影像博物館》放映會"Bureau of Cultural Affairs Hsinchu City, Taiwan" Screening


夏鑄九 (台灣大學建築與城鄉研究所所長) 映後座談


Date: April 27, 2008
Place: Image Museum of Hsinchu City (No.65, Jhongshan Road, Hsinchu City. Taiwan. ROC)
Phone: 886-3-5285840


Friday, April 4, 2008

地下生活的一群 - 劉銳紹(原載於新報)







All's Right with the World -- trailer (English subtitles)

《歌舞昇平》預告片 繁體中文字幕版

An Unfinished Cinema - by Abbas Kiarostami


by Abbas Kiarostami

Text written for the Centenary of Cinema

Distributed in December 1995 at the Odéon Theatre, Paris

Originally, I thought that the lights went out in a movie theatre so that we could see the images on the screen better. Then I looked a little closer at the audience settling comfortably into the seats and saw that there was a much more important reason: the darkness allowed the members of the audience to isolate themselves from others and to be alone. They were both with others and distant from them.

When we reveal a film’s world to the members of an audience, they each learn to create their own world through the wealth of their own experience.

As a filmmaker, I rely on this creative intervention for, otherwise, the film and the audience will die together. Faultless stories that work perfectly have one major defect: they work too well to allow the audience to intervene.

It is a fact that films without a story are not very popular with audiences, yet a story also requires gaps, empty spaces like in a crossword puzzle, voids that it is up to the audience to fill in. Or, like a private detective in a thriller to discover.

I believe in a type of cinema that gives greater possibilities and time to its audience. A half-created cinema, an unfinished cinema that attains completion through the creative spirit of the audience, so resulting in hundreds of films. It belongs to the members of that audience and corresponds to their own world.

The world of each work, of each film recounts a new truth. In the darkened theatre, we give everyone the chance to dream and to express his dream freely. If art succeeds in changing things and proposing new ideas, it can only do so via the free creativity of the people we are addressing – each individual member of the audience.

Between the fabricated and ideal world of the artist and that of the person he addresses, there is a solid and permanent bond. Art allows the individual to create his truth according to his own wishes and criteria; it also allows him to reject other imposed truths. Art gives each artist and his audience the opportunity to have a more precise view of the truth concealed behind the pain and passion that ordinary people experience every day. A filmmaker’s commitment to attempting to change daily life can only reach fruition through the complicity of the audience. The latter is active only if the film creates a world full of contradictions and conflicts that the audience members are able to perceive. The formula is simple: there is a world that we consider real but not completely just.

This world is not the fruit of our minds and it does not suit us all that well but, through cinematic techniques, we create a world that is one hundred times more real and just than the one around us.

This does not mean that our world gives a false image of justice but, on the contrary, it better highlights the contrasts that exist between our ideal world and the real world. In this world, we speak of hope, sorrow and passion.

The cinema is a window into our dreams and through which it is easier to recognize ourselves.

Thanks to the knowledge and passion thus acquired, we transform life to the benefit of our dreams.

The cinema seat is of greater assistance than the analyst’s couch. Sitting in a cinema seat we are left to our own devices and this is perhaps the only place where we are so bound to and yet so distant from each other: that is the miracle of cinema.

In cinema’s next century, respect of the audience as an intelligent and constructive element is inevitable. To attain this, one must perhaps move away from the concept of the audience as the absolute master. The director must also be the audience of his own film.

For one hundred years, cinema has belonged to the filmmaker. Let us hope that now the time has come for us to implicate the audience in its second century.