尋找光影記憶的張美君

鄭政恒 其實我跟張美君老師並不熟稔,但當我知道她過身的消息,一些小片段立刻浮現。 我最後一次碰見她,是在銅鑼灣誠品書店,她的散文集《寫在窗框的詭話》(2013)新書發布會,她面容和藹可親,身邊站着她的好友洛楓、朱耀偉、周耀輝、劉偉成和匯智出版人羅國洪,當然還有她的學生蕭恒,大家有說有笑。

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Between Times and Spaces: Interview with Evans Chan

Abstract: A Hong Kong Second Wave filmmaker, Evans Chan’s work is characterized by its transnational context and narrative technique. Migratory experiences, border crossings, and the quest for identity are recurrent themes in his films. One can say that Chan’s migratory experiences in his life naturally have stimulated his interest in these subject matters. In 1984, he furthered his studies in […]

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Hong Kong Screenscapes: An Introduction

Abstract: This book situates Hong Kong’s independent spirit within the context of global mediascapes. Hong Kong’s wealth of art films, documentaries, experimental productions, digital arts, and videos constitute its screenscapes, offering multifaceted ways to look at the city’s rich screen culture beyond the confines of the local, commercial film industry, making its connections to world film/screen culture clear. Just as […]

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On the Edge of the Mainstream: Interview with Ann Hui:

Abstract: Acclaimed New Wave director Ann Hui held a preview screening of her film, The Way We Are, at the University of Hong Kong shortly after its premiere at the Hong Kong International Film Festival in April 2008. This low-budget feature deals with the quotidian lives of the residents of Tin Shui Wai, a satellite town in Hong Kong’s New […]

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Documenting Hong Kong: Interview with Tammy Cheung

In recounting the last fifteen years of the independent film movement in Hong Kong, it is impossible not to mention Tammy Cheung’s name. Even though she does not make narrative films, she has nevertheless made inroads with documentary films. She focuses on social and human problems as her subject matter and uses direct cinema as her approach. Without the use […]

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概論:尋找香港電影的獨立景觀

獨立電影的路途悠遠漫漫,險惡重重。在香港電影業減產轉型的今天,主流工業也上下求索,尋找生存的路徑,獨立電影人所走的路豈不是更崎嶇?香港的獨立及實驗電影由來已久,卻從未開展真正的電影運動。論者都一致認為本地的獨立電影始於上世紀六十年代,於九十年代復甦。香港於六十年代透過電影學會引進十六米釐菲林及超八,那時候還未有政府資助,業餘製作者的興趣已萌芽。「第一影室」(Studio One)在1962年成立,主要成員是在港工作的外國人,後來「大影會」在1966年成立,其前身亦即「大學生活社」學生活動的「電影小組」,主辦放映、研討和座談等活動,並且推廣電影創作的風氣。

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