Cultural Journalism Campus takes on Hong Kong Art Month 2017

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Cultural Journalism Campus takes on Hong Kong Art Month

Flagship fellowship programme is joined by outreach activities

[HONG KONG – March 2017] Hong Kong-based non-profit educational outfit Cultural Journalism Campus is organising a host of activities to take place during Hong Kong Art Month this March – including the CJC Fellowship and CJC Outreach – to further its aims of raising the profile of cultural journalism and art criticism as well as promoting art appreciation in Hong Kong and beyond.

The 4th annual CJC Fellowship, organised with the support of institution partner MILL6 Foundation, takes place from March 17-25. A total of 10 students from around the world, including Hong Kong, mainland China, Switzerland and Germany, will attend a series of cultural journalism and art criticism workshops, under the guidance of experienced industry mentors (bios below). The events will take place at the Consulate General of Switzerland in Hong Kong and Art Basel.

The students will also attend cultural happenings over the course of the month and write about them for Culture Express. Copies of Culture Express, printed on March 23, will be available at our booth at Magazine Sector at Art Basel and cultural hotspots around the city, as well as via the CJC website. In addition to the production of Culture Express, the students will write articles for the CJC website and report on Art Month events via Facebook Live.

Taking place during the Hong Kong Art Month for the first time, the CJC Outreach will give children and teenagers, aged between 9 and 15, from local grass roots communities a chance to attend Art Central as well as art workshops staged at the fair from March 23 – 25, with the support from Art Central and UOB. The three workshops will cover live sketching, ink painting and live mural painting. (Instructor bios below).

“Through bringing our flagship CJC Fellowship programme together with the CJC Outreach at Hong Kong Art Month, Cultural Journalism Campus is able to join its short-term aim of expanding cultural horizons, with its long-term goal of promoting increased community involvement in the arts. While the CJC Fellowship offers aspiring young journalists and critics a unique learning opportunity to polish their skills under the guidance of media veterans and leaders of the arts and cultural sector in a professional media setting, the CJC Outreach aims to instill an appreciation of the arts in children and young people who might otherwise not have the opportunities to attend such events,” said Vivienne Chow, CJC Founding Director.

To date, CJC has nurtured the talents and curiosity of over 500 children, teenagers and students.

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Mentor biographies (CJC Fellowship)

Esther Ng is a Hong Kong-based freelance lifestyle journalist and content marketing strategist with over 12 years experience in editorial, custom publishing and content creation. She has worked at the South China Morning Post, Prestige Hong Kong and Destination Macau, and now runs The Word Spot, a boutique content marketing firm.

Edwin Lee is a filmmaker, video producer and founder of bespoke video production company Fallout Media. He had started his news career at Asia Television (ATV) before pushing the new frontier of digital content for the SCMP and the Wall Street Journal. He currently contributes video works to BBC World News.

Adam Martin has over 12 years experience as a writer/editor in print and digital media. Currently an assistant news editor at the Wall Street Journal, he has worked for the South China Morning Post, New York Magazine, The Atlantic, The Times, the Jakarta Globe and the San Francisco Examiner as a metro reporter, food and features writer, digital editor, copy editor and more.

Tinny Cheng is a former financial journalist whose passion for arts and culture led her to begin covering these areas for newspapers 11 years ago. She spent seven and a half years covering these topics for The Hong Kong Economic Journal and currently works as a chief culture reporter for Apple Daily where she is responsible for the profile section “Tasting Apple” and arts and culture stories.

Instructor biographies (CJC Outreach)

Ivy Fung (live sketching instructor) is a multi-disciplinary artist and designer. Ivy likes to experiment with a range of medium and formats of expression, from public art to environmental graphics. Her works have been featured in MTR’s Art in Station programme, Hong Kong Velodrome Park, the Hong Kong Art Biennial and the Art Tech Media conference in Spain. Ivy has more than five years of experience teaching art, craft, drawing, sketching, computer art and photography to youngsters aged from five to 19. She has worked as an environmental graphic and wayfinding consultant for more than eight years in Southeast Asia and China.

Lo Kwan Chi (ink painting instructor) graduated from Fine Arts department at The Chinese University of Hong Kong (CUHK) in 1998 and completed a Master of Philosophy in History of Chinese Art. Inspired by Hong Kong’s urban landscape, Lo has recently devoted himself to the medium of Chinese ink. Lo’s work has featured in a number of local exhibition and awards including the Hong Kong Contemporary Art Biennial Awards, the New Art Wave Expo and New Art Force as well as collections held by The Chinese University of Hong Kong, the InterContinental Hong Kong and private collectors He is currently the Chairman of The Alumni Association of Fine Arts Department of CUHK.

Bo Law (live mural painting instructor) has provided illustrations for the Starbucks, the Sino Group, the Hong Kong Art School and the South China Morning Post. Law draws his inspiration by the living environments where his work is featured. His worked has appeared around Asia, including the Setouchi Triennale in Japan.

About Cultural Journalism Campus
Cultural Journalism Campus (CJC) is an award-winning non-profit educational initiative founded in 2014 by journalist, critic and lecturer Vivienne Chow. It aims to cultivate a new generation of audience for arts and culture in Hong Kong and beyond through promoting cultural journalism and art criticism as well as bringing arts and culture to the local community.

 

Media enquiries

Email: cjc@culturaljournalismcampus.org

Website: https://culturaljournalismcampus.org/

Facebook: www.facebook.com/culturaljournalismcampus

Instagram: @culturaljournalismcampus

 

Three: A political metaphor

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Louis Ku (centre), plays police officer Ken in Three PHOTO: LEAFF

By Godric Leung

Johnnie To Kei-fung’s latest offering Three is not a usual crime thriller. Rather than being an action-packed feature – a genre that put Hong Kong cinema on the world map in the past – this cat-and-mouse game among three characters stuck in a hospital becomes an allegory of the current political crisis facing the former British colony in the hands of the acclaimed director. 

Shun, a young armed robber, is shot in the head by a cop by mistake. He regains consciousness but and refuses to undergo any surgery,  in order to buy time for his fraudsters’ revenge scheme towards the police. While Medical doctor Tong, who is from mainland China, urges Shun to accept her surgical treatment in order to prove her professionalism, police inspector Ken keeps pressing Shun for details about the robbery.

The police are not necessarily righteous in the cinematic world of To, as seen in his previous titles The Longest Nite and Mad Detective. To continues to expose the dark side of the guardian of law and order in Three, as inspector Ken fabricates false evidence to conceal the shot fired at Shun while pushing Tong to poison the young robber in the name of police-citizen cooperation.

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Wallace Chung as young robber Shun in Three PHOTO: LEAFF

To ordinary Western audience, this might just be another dramatic treatment in a crime thriller. But to the people of Hong Kong, this is a mirror of the city’s political reality.

The way how the police abuse their power in Three echoes the deteriorating public image of the Hong Kong police after the Umbrella Movement in 2014. During the 79-days Occupy protests, which demanded for a universal suffrage of the city’s governor without Beijing’s screening occupation, a local TV station accidentally captured seven police officers allegedly beating up a protester at a dark corner. The footages were aired and shocked the city. Other footages showing the police attacking armless civilians during the protests were widely circulated online. The incidents tarnished public’s trust in the police and increasing citizens’ hostility towards the authority.

The setting of the film is another motif that warrants audience’s attention. In Three, the main characters are stuck in the hospital. In reality, Hong Kong is also facing a political standstill. Neither the pro-democracy, nor the pro-Beijing camp can win a majority support. The lack of middle-way negotiation leads to a more scattered society.

Director To trades in gave up his traditional fast-paced gunfights for a 10-minute highly stylised slow-motioned shoot-out, which involves more than 200 actors and it turns out impressive and flawless. He also inserts a reinterpretation of a classic Mandarin song, which is sung by Canto-pop singer Ivana Wong as background music. Her gentle voice makes the bloody killing scene more ridiculous and yet tragic.

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Director Johnnie To on the set of Three PHOTO: LEAFF

The shoot-out reminds Hong Kong audiences of with the increase of violent protests in recent years, such as the Mongkok clash Riot at the first night of this year’s Lunar New Year. Radical localist protesters threw glasses and bricks to police officers, as they opposed the hygiene department staffs, who charged unlicensed hawkers during the local festive seasonal. Meanwhile, police used pepper spray and fired two warning shots in return. The confrontation injured more than 100 people and shocked the public.

While people keep asking why the young generation is so rebellious, To tries to offer an answer through the lyrics of the theme song, which sings “Listen to what the youths are saying, think about why they do that”.

It is a theatrical attempt in using only one set for the whole film. Yet, it is nicely executed, as To gained experience from his previous work Office, which is a movie adaptation of a theatre musical show. As an unusual criminal thriller, Three can give western audiences a new and fresh impression of Hong Kong movie, but it may require audiences a strong involvement in local affairs in order to understand the metaphors in the film.

 

 

Three is selected to be the closing gala for the 1st London East Asia Film Festival 2016 (LEAFF). Saturday, October 30, 7pm: Ham Yard Hotel Cinema, followed by Q&A section with director Johnnie To.

In Cantonese with English subtitles

工廠養活荃灣不再 居民歷盡滄海桑田

馮志遠懷念以往跑來跑去,到處維修的日子。
馮志遠懷念以往跑來跑去,到處維修的日子。Photo: Kanis Leung

梁嘉瑜 Kanis Leung

年屆七十四歲的馮志遠見證了荃灣區的滄海桑田。由政府填海、起工廈、褔來邨建成,到後來工廠北遷,於五十二年前已在褔來邨開電器店的馮志遠不僅經歷了荃灣區的發展和轉變,也深受荃灣區的改變所影響。

馮志遠憶述60至80年代時,不少工廠均是他的「老客戶」,他常會東跑西跑替他們維修,工人亦會到他的店舖買電器用品、機電設備例如馬達等。他又表示當時即使工廠區在數街之隔,但卻不嘈吵、亦無烏煙瘴氣,還能嗅到海水味。褔來邨建成,大批居民入伙亦為他帶來不少生意。當時他除了替民居維修外,亦有替不少工廠維修。

但自從這些老客戶北上後,此情不再,生意也跟從前不一樣,賺錢也較艱難。「唔捨得都冇辦法,發展係咁。大陸人工平、廠房平,係運輸費就貴咋嘛。」馮志遠如是說。

工廠區與民居只是一街之隔。
工廠區與民居只是一街之隔。Photo: Kanis Leung

工業區對荃灣這個「衛星市鎮」的發展舉足輕重。在六十年代時,荃灣西的柴灣角已建成工廠區,當時是全東南亞最大的「南海紗廠」,牽著荃灣整區的經濟發展。另外,荃灣東面沿着德士古道及今日的荃景圍一帶,部份也是工廠。當時的港英政府有見及此,在柴灣角工廠區附近興建了褔來邨,旨為工廠提供大量勞動力。不少人當時就像葉婆婆一樣在工廠區附近居住,走幾條馬路便去上班,然後又回家休息。日復日,年復年。

不過隨著香港製造業息微,荃灣西的工業區已改建成商業大廈,有不少公司遷入,包括全港最大的收費電視台有線電線。近年,荃灣沙咀道一帶亦正轉型成住宅發展的工業區,重建計劃會把部分工廈建成住宅大廈,令工廠區將遇巨變。

葉婆婆以前住的楊屋道舊唐樓已變成荃新天地。
葉婆婆以前住的楊屋道舊唐樓已變成荃新天地。Photo: Kanis Leung

工廠北遷 若有所失

已屆七十五的葉婆婆(不願透露全名)就是其中受影響的一位。

葉婆婆住在荃灣褔來邨,二十多年前從大陸來港,跟丈夫與孩子團聚,當時與一家七口住在楊屋道的唐樓。

在九十年代,兩口子要養大五個小孩絕不是易事。雖然當時因大陸開放,有工廠已開始北上,慶幸當時香港仍是遍地黃金,葉婆婆看到街招便到數街之隔的柴灣角工業區工作,時宜做長工,時宜做短工,擔當「工廠妹」幫補家計。葉憶述,當時的工業區很旺,常常請人,更要常常加班,不過跟工友談天說地卻充實了她的生活:「做下做下都開心,為左個餐飯去做囉,齊齊捱囉。」

曾在多間工廠工作的她最喜歡做藥廠,口邊常常提著「拋藥樽最開心」。拋藥樽是指像小丑表演把藥樽拋來拋去的工序嗎?葉耐心地向記者解釋,拋藥樽即是機器製造藥樽時,一個個塑膠樽成模拋出來的樣子。葉自言,她透過這一個工序可以學到字和新知識,例如藥樽會送到哪個藥廠、哪個地方。

這樣的日子維持了幾年,她就因為中風而停工,後來工廠更北遷了,葉婆婆若有所失地說:「唔捨得都冇辦法,個個都返返大陸……冇得掛住,以前最開心去返工,同工人傾下計,邊做邊傾計 。而家靜靜蠅蠅。」

以往工廠常用的帳簿
以往工廠常用的帳簿。Photo: Kanis Leung

 

變幻原是永恆

在邨內開了數十年文具店的楊崇尚亦有同感,六十歲的他對轉變更是看化了:「咁都冇計架。人就始終有啲失落架啦。呢個喜怒哀樂、生老病死咁樣嘛。」

楊憶述,當時文具店早午晚也有生意,區內的文具需求大得附近三間文具店,但現時的生意變疏落了,褔來邨一帶就只剩他一間文具店。

楊自言以前他與工廠工人關係不錯,儼如朋友,有時更會談及私人事、家事。他又比擬屋邨內與各人的感情就像是鄉下村民的關係,就如同鄉一樣,可以「吹下水打牙骹」。以前工廠徜在的時候,楊的文具店更常常有工人來買會計簿,可是隨著他們搬遷、帳目電腦化後,他就少入了這類貨。現時他的生意來源主要來自在工廠區轉型所建的寫字樓、住在附近的家庭等。

提到荃灣一帶的轉變,他嘆息地說:「總有多少滄海桑田,變先係永恆架嘛。」不過他卻看得很化,認為社會的轉變不可能受人意志的影響:「我地只能夠擁抱轉變。」

 

登陸荃灣:衛星城市上的故事

Story3_fig3 發展初期
荃灣衛星城市發展的初期。左邊是工業區,右邊是正在施工的福來邨。 圖源:香港記憶網頁

Danica Fung

對於八十二歲的李少顏(李婆婆)而言,荃灣不僅是她的家。從紗廠工作、結婚、到三代同堂,她的經歷,一幕幕的,將荃灣這個衛星城市的歷史呈現出來。

生於1934年,李婆婆小學畢業後便到荃灣的工廠工作。結婚後曾搬離荃灣,住過木屋也住過徒置區,兜兜轉轉卻又在荃灣定居下來。現在,閒時李婆婆都會到昭和電位保健器材中心吹吹風,與街坊聊天。

五十年代的荃灣: 車水馬龍的工廠區

「我以前在十四咪(現為荃灣青山公路)的香港紗廠工作。」穿普橙黃色上衣的李婆婆說。

自1950年,荃灣成為工廠的集中地。當時,內地政局交替,大批資本家帶著資金和先進的機器南移至香港。荃灣的沿海一帶,因處於大帽山下,水源極充足,有利生產,繼而吸引他們設廠。當時荃灣的工廠主要生產紡織、塑膠、製衣、搪瓷等輕工業。香港紗廠南豐紗廠中國染廠益豐搪瓷廠等,皆是昔時著名的廠房。

「要考進紗廠不容易,他們看學歷,如果你讀過一、兩年小學才容易點。」李婆婆說。「不過考到便好了,一天工作八小時,還要包住宿。」工廠大多分為三班制,一班八小時,每天的工資是五毫子。「我們望著機器,看見斷了線便打結駁回。放工後,工廠內有很多活動,男的,打籃球;女的,唱歌。」

「那時,荃灣也住了很多『台山阿伯』。」南移設廠的資本家中,大多是美國回鄉的華僑(俗稱台山阿伯)。因此,李婆婆很多的姐妹結婚後都寄居美國。「我媽媽不喜歡我嫁到美國。後來,住我(宿舍)下層的,正是我現時丈夫的叔公,他介紹我先生給我認識。」李婆婆一面甜蜜地說。1955年,李婆婆跟丈夫結婚後,就離開了紗廠搬至紅磡。

Story3_fig4 眾安街
現時的眾安街,同樣車來人往,舊時的唐樓仍圪立在兩旁。 Photo: Danica Fung

六、七十年代的荃灣: 從工廠到衛星城市

「我以前也是在工廠工作,不過是塑膠廠。」坐在李婆婆身旁的八十歲陳婆婆(化名)說。她是李婆婆於中心認識的街坊,五十年代跟著爸媽來到香港。期後,一直住在荃灣,生活了六十多年。「以前住木屋,拆了就搬到唐樓;後來申請公屋,就搬進了石圍角邨,已三十多年了。」陳婆婆說。

自1954年海壩村木屋區大火後,政府正視木屋區因擠迫而引發的連串火災和水災問題。雖然曾興建徙置區,把災民徒置,但仍然供不應求。面臨市區的人口壓力,港英政府決定發展較遍遠的新界區。1961年,政府立憲將靠近九龍的荃灣列為新界區第一個新市鎮,亦稱為衛星城市。「自給自足」和「均衡發展」是衛星城市的目標。在新政策下,政府在荃灣推動大規模的填海和遷拆工程,大型的公共屋邨如福來邨、商場、公共場所亦陸續興建。

「以前荃灣只有一條街道,就是眾安街。出面都是填海的,看著它一路填(海)一路起。」陳婆婆指著聯仁街的高樓說。

荃灣最初的海岸線是沙咀道,人來人往的眾安街也只到英皇娛樂廣場(現今的大鴻輝(荃灣)中心)。 1976年的填海工程,使荃灣的海岸線延至德士古道和楊屋道等地段。同時,隨著成本的上升和東南亞地區改革開放,工廠紛紛撤出香港。荃灣的工業用地轉為發展商業樓宇、房屋和大型商場。七十年代的末期,標誌著新市鎮的開始。

Story3_fig7 May
自爸爸過世後,May接手真美時裝,成為鱟地坊的第二代小販 Photo: Danica Fung

八、九十年代的荃灣:年輕人的聚腳點

May,七十後,束著腰包,一家在川龍街旁的鱟地坊擺放已三十多年,見證新市鎮的發展。鱟地坊,是荃灣發展為新市鎮後出現的「大笪地」市集,據說是舊時鱟活動的淺灘,因而命名。七十年代的鱟地坊,面積如一個小型足球場,佈滿以鐵皮搭成的小檔口,供應普羅巿民的日用所需。八十年代初,政府重建川龍街和眾安街,更多小販遷移至此。今天,鱟地坊已改建為室內市集,名為。雖然May的家在青衣,但自少已常跟著爸爸到荃灣看檔,荃灣算得上是May的第二個家。「這裡的人看著我大,只是沒有看著我壞而已。」May笑言。

除了小販的遷移和重建街道,娛樂場所亦隨著新市鎮的發展而出現。八、九十年代,荃灣更成了年輕人的聚腳點。May說:「以前荃灣有很多劇院,好景(現址為翡翠廣場)、大光明(現址為大鴻輝(荃灣)中心)、華都(現址為華都中心)等。我經常同朋友到荃灣看電影,一張戲飛售二十元。」「 機鋪也很多,最熱門的是波子機。」May補充。可惜,因著網絡的普及,戲院和機鋪相繼結業。現在,荃灣只剩下百老匯和嘉禾影院。「那時,食飯到大鴻輝,買衫到南豐廣場,很旺的。若然要買牌子貨,就要到尖沙咀和旺角。」

May指,在地鐵開通前,都是乘巴士或小巴到九龍,乘船到青衣。「如果不堵車,只需半小時就到達九龍。那時最怕就是下雨,因為一定堵車。」May說。「如心廣場以前是個碼頭,有船來往青衣、中環和大澳。」1982年,港鐵荃灣線通車,荃灣的交通變得更方便。2000年,為了填海而興建西鐵,荃灣碼頭亦遭拆卸。

Story3_fig10 天橋指示
荃灣的天橋縱橫交錯,接駁整個社區 Photo: Danica Fung

千禧後的荃灣: 新舊交替,自給自足

「現在完全不同了。自從新城市廣場、荃新天地的出現,現在也能在荃灣買到牌子貨。」May說。「以前,我們想吃特別的菜色要到外面去;現在,人們反而來荃灣找吃的。」現在的荃灣,雖然位於新界區,卻如市區般設備齊全。交通、購物都十分方便,而且滿佈食肆,自給自足。

「這十年間荃灣特別變得厲害,商場的冒起、港鐵、天橋接天橋等。」May說。荃灣的行人天橋系統,四通八達,接駁港鐵荃灣站、荃灣西站和各個商場。然而,在商場臨立的背後,舊式商鋪、工廠大廈和唐樓仍然圪立共存。

在城市發展的充斥下,縱然事過境遷,但「物非」並不代表「人非」。因著兒子成為了警司,李婆婆搬到荃灣的警察宿舍,在荃灣又住了十多年。她面帶微笑地說:「我沒有理會什麼新市鎮,反正都是生活。沒有什麼喜歡不喜歡,反正住慣了,幾好住。」

《火鍋英雄》: 國產新「笑」力

By Kanis Leung

八十後新勢力內地導演在香港影壇鮮有地位,楊慶是例外。繼楊憑其處女作《夜店》簽約國際著名經紀人公司,成王家衛、李安的同門後,他的第二部作品《火鍋英雄》再獲得業界青垂,與杜琪峰的作品同選為第四十屆香港國際電影節的開幕電影。
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