(7 Sept)
Clarisse Yeung
各位：
9月7日的新聞摘要如下：
本地：
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「熊貓級」古蹟竟無國寶級保護 | ||||||
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林鄭曼谷搭地鐵 為起動九龍東偷師 | ||||||
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港鐵沙中 全面打通經脈 | ||||||
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城市與戲曲 | ||||||
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李安效應 台中打造國際影城 | ||||||
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文化匯聚迸創意 | ||||||
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大黃鴨北京園博園下水 | ||||||
外地：
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文化處天花板破爛 藝文界蒙羞（台灣） | ||||||
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花蓮美術館展覽浮濫？ 明年減至21檔（台灣） | ||||||
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馨香兩岸 製香達人散播文創 新港鄉香藝文化園區 陳文忠挖掘中國用香歷史創新生活（台灣） | ||||||
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11. |
營運不善 公益回饋場館養蚊子（台灣） | ||||||
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12. |
創意生活節開幕 浩角幽默推銷台南（台灣） | ||||||
yana
Miss Vivienne Chow
Hong Kong team questions production quality of Beijing Rubber Duck
Vivienne Chow and Li Jing
It may be taller and bigger than its Hong Kong compatriot, but a gigantic rubber duckling on show in Beijing looks more like a slightly limp chicken.
The "authentic" Beijing version might not have been produced properly, say the team that made the Hong Kong version. Both ducks were designed by Dutch artist Florentijn Hofman.
The Beijing sculpture floating in the newly constructed Beijing Garden Expo Park has a different beak and a problematic bottom compared to the one that graced Victoria Harbour in May, the Hongkongers said. "The production isn't bad, but it seems that they got a different beak," said Lam Shu-kam, creative director of AllRightsReserved, Hofman's Hong Kong partner.
Jackie Chan Yuk-bong, account director of Meanmax, which oversaw production of the rubber duck in Hong Kong, said the beak appeared to have been sewn in the wrong direction.
Chan said the pattern of the stitching on the Beijing rubber duck's caused it to look more pointy and sloping downwards, resembling more the beak of a chicken. The Hong Kong version, in contrast, had a more realistic, curved beak like a duck's, he said.
"The wide, plump beak is an iconic feature of the rubber duck," said Chan. "We had problems, too, at the beginning and had to make adjustments during production."
Pictures of the Beijing rubber duck showed it listing to the right, revealing its bottom and exposing a floating stage that kept the rubber duck stable on the water.
However, the floating stage was hidden beneath the water line in the Hong Kong version, said Chan.
Entrance fees of 100 yuan (HK$125) in the Beijing Garden Expo Park and 30 yuan to Summer Palace to see the rubber duck in Beijing also drew criticism, and appear to run counter to Hofman's philosophy on public art.
"First, it must always be shown to the general public ... it's not for private [use]," Hofman told the South China Morning Post in May. He even rejected requests to house the duck at a museum in Japan.
The rubber duck exhibition in Hong Kong was free and was seen by tens of thousands of people. Hofman could not be reached for comment on the Beijing version.
"The rubber duck was not fully inflated on Thursday night for safety concerns, as the weather was pretty rough with thunder and lightning," said Zhang Daping, publicity director of the Beijing International Design Week Organising Committee.
"Its manufacture strictly followed the artist's specifications, so there is no difference to the one in Hong Kong."
各位：
9月7日的新聞摘要如下：
本地：
1.
「熊貓級」古蹟竟無國寶級保護
2.
林鄭曼谷搭地鐵 為起動九龍東偷師
3.
港鐵沙中綫 全面打通經脈
4.
城市與戲曲
5.
李安效應 台中打造國際影城
6.
文化匯聚迸創意
7.
大黃鴨北京園博園下水
外地：
8.
文化處天花板破爛 藝文界蒙羞（台灣）
9.
花蓮美術館展覽浮濫？ 明年減至21檔（台灣）
10.
馨香兩岸 製香達人散播文創 新港鄉香藝文化園區 陳文忠挖掘中國用香歷史創新生活（台灣）
11.
營運不善 公益回饋場館養蚊子（台灣）
12.
創意生活節開幕 浩角幽默推銷台南（台灣）
yana
--
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<130907 News Digest.doc>
Miss Vivienne Chow
SCMP
Fund fails young movie makers, says Hong Kong film community amid calls for overhaul
Filmmakers are calling for a revamp of the government's film funding system to make it more effective in boosting the international exposure of a greater diversity of directors and films.
They say the Film Development Fund's current system, which favours feature films, shuts out smaller films, including documentaries, and young film-makers.
But support for young directors and documentary films was much less generous and often even non-existent.
Some filmmakers hope a separate category of support for smaller films will be created when the fund is reviewed at the end of this year.
"Young filmmakers can make themselves known internationally and build networks at festivals to further their filmmaking careers," said Winnie Tsang Lai-fun, managing director of film company Golden Scene.
"It also helps a new generation of Hong Kong films maintain their international exposure, so that the world knows what Hong Kong cinema is up to. You can't keep talking about Bruce Lee, Jackie Chan or other well-established names," added Tsang, also a member of the Film Development Council and producer of recent dance hit The Way We Dance.
At present, funding ranges from HK$40,000 to HK$300,000, depending on the ranking of the festivals at which they appear. The festivals are graded from tier I, such as Cannes, Berlin and Venice, to tier III.
Up to HK$1 million is offered to films competing for a foreign language film prize at the Oscars, but none have received this.
Vincent Chui Wan-shun, of independent filmmakers' group Ying E Chi, said it cost more to compete at major festivals, and today's trend did not favour small films as major film festivals liked showbiz glamour.
He also questioned why well-regarded festivals such as Munich in Germany and San Sebastian in Spain were listed in tier III, the lowest, instead of tier II.
"Should there be another category [of funding] for smaller films?" Chui asked. "A healthy industry needs diversity, and the box office isn't the only way to measure the value of a film."
Documentary filmmaker Tammy Cheung Hung said documentaries also had a market and got theatrical releases.
"They also showcase Hong Kong culture and a local cultural identity in a more direct way," she said. "The Film Development Fund only supports feature films, but it should include more categories of films in future."
Films entering the 21 festivals listed as tier II can obtain HK$80,000 to HK$100,000 of funding. For festivals graded tier III, up to HK$40,000 is available for each film.
Of the HK$4.13 million handed out since the government injected HK$300 million into the fund in 2007, HK$837,000 went towards supporting five films produced and distributed by Media Asia Films, a subsidiary of entertainment conglomerate Media Asia Group Holdings, which is listed in Hong Kong.
Of the five Media Asia films, two were awarded the top sum of HK$300,000 - action thrillerAccident by Soi Cheang to compete in Venice in 2009 and Johnnie To Kei-fung's crime drama Life Without Principle,competing in the same festival in 2011.
Four other top sponsorships went to major film companies.
They included 2007 Venice entrants Emperor Motion Picture (International) with The Sun Also Rises at Venice in 2007 and One Hundred Years of Film Company with Mad Detective.
Others were Berlin 2008 entrySparrow distributed by Universe Films Distribution and A Simple Life in Venice in 2011 by Bona Entertainment.
Bona is a subsidiary of Nasdaq-listed mainland company Bona Film Group.
More than half of the total - about HK$2.2 million - went to 43 films directed or co-directed by 12 big names who were best director winners at the Hong Kong Film Awards or Golden Horse Film Awards.
Among them, five films directed by To received a total of HK$1.13 million for the top European festivals, including three that received the top amount of HK$300,000.
The top three were Mad Detective , co-directed with Wai Ka-fai, which competed in Venice in 2007; Triangle, co-directed with Ringo Lam and screened at Cannes in 2007; and Life Without Principle, which competed in Venice in 2011.
Two films by Ann Hui On-wah,All About Love and A Simple Life, received HK$80,000 and HK$300,000 respectively to enter the 2011 Venice Film Festival.
Wong Kar-wai's My Blueberry Nights received HK$150,000 to compete at Cannes in 2007. A new edition of his classic Ashes of Time Redux received HK$40,000 when it was shown in Cannes the following year.
Of the 43 films, only six were directorial debuts, and four were directors' second features.
Film Development Council secretary general Wellington Fung Wing said a film's funding depended on whether it was invited to take part in a festival, and low-budget films were not necessarily excluded from major festivals. Festivals listed were updated regularly, and the council welcomed the opinions, he said.
Fung said the funding system would have to be reviewed at the end of the year as the fund would be depleted next year and the council would have to go back to the Legislative Council for money. He said more diversified support for films would be considered.
ENDS
Related stories:
Partnering with right producer key to young directors getting exposure at festivals http://m.scmp.com/news/hong-kong/article/1302183/young-directors-get-premium-tickets-festivals
各位：
9月7日的新聞摘要如下：
本地：
1.
「熊貓級」古蹟竟無國寶級保護
2.
林鄭曼谷搭地鐵 為起動九龍東偷師
3.
港鐵沙中綫 全面打通經脈
4.
城市與戲曲
5.
李安效應 台中打造國際影城
6.
文化匯聚迸創意
7.
大黃鴨北京園博園下水
外地：
8.
文化處天花板破爛 藝文界蒙羞（台灣）
9.
花蓮美術館展覽浮濫？ 明年減至21檔（台灣）
10.
馨香兩岸 製香達人散播文創 新港鄉香藝文化園區 陳文忠挖掘中國用香歷史創新生活（台灣）
11.
營運不善 公益回饋場館養蚊子（台灣）
12.
創意生活節開幕 浩角幽默推銷台南（台灣）
yana
--
您已訂閱「Google 網上論壇」的「HKCM_newsdigest」群組，因此我們特別傳送這封郵件通知您。
如要取消訂閱這個群組並停止接收來自這個群組的郵件，請傳送電子郵件到 hkcm_newsdige...@googlegroups.com。
如要在此群組張貼留言，請傳送電子郵件至 hkcm_ne...@googlegroups.com。
如需更多選項，請前往：https://groups.google.com/groups/opt_out。
<130907 News Digest.doc>