Cultural Journalism Campus takes on Hong Kong Art Month 2017


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.


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




Instagram: @culturaljournalismcampus


Three: A political metaphor

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.

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.

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。Photo: Kanis Leung

梁嘉瑜 Kanis Leung




工廠區與民居只是一街之隔。Photo: Kanis Leung



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





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。Photo: Kanis Leung









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



五十年代的荃灣: 車水馬龍的工廠區





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




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



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。」


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




《火鍋英雄》: 國產新「笑」力

By Kanis Leung

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