JULY 11, 2017, HONG KONG: More than 300 delegates from around the world attended the China Daily Asia Leadership Roundtable panel on “The Prospects of the East Asian Market In the New Global Economy” today at Hong Kong Summit. China Daily is delighted to work with The Chinese General Chamber of Commerce this year and hold a co-branded session as the only session strategic partner. As Asia emerges as the new locomotive for global economic growth, deepening regional cooperation has become a key strategy for development in many countries. Ministers, leaders and experts from the industrial and business sectors in Hong Kong and overseas will gather at the Hong Kong Summit to exchange ideas on a wide range of issues, including sustainable economic development in East Asia and Hong Kong’s role in regional cooperation. China Daily is delighted to have had 6 distinguished speakers: Dr. David DENG, General Manager of Capital Investment & Management Department, China Merchants Group Limited; Mr. Patrick IP, Managing Director, China-ASEAN Investment Cooperation Fund; Prof. KRIENGSAK Chareonwongsak, President, Institute of Future Studies for Development; Mr. LEE Heng Guie, Executive Director of Socio-Economic Research Center, The Associated Chinese Chambers of Commerce and Industry of Malaysia; Mr. Lincoln LEONG, Chief Executive Officer, MTR Corporation Limited and Mr. LIN Jingzhen, Deputy Chief Executive, Bank of China (Hong Kong) Limited. They reviewed the opportunities and challenges for the region’s financial markets, Hong Kong’s advantages in financing East Asia’s infrastructural projects, and the interaction between traditional and high-tech industries. Dr. David DENG expressed that China Merchants Group plays a pioneer role in Belt and Road Initiative and created its PPC (port-park-city) model to catch opportunities in the Belt and Road regions. Deng said the flagship of its industry platform is China Merchants Port, which has 49 ports in 19 countries and regions, and CMG’s logistics sector has 96 overseas operating sites in 38 countries and regions worldwide. Mr. Patrick IP said “According to Asian Development Bank, the annual infrastructure spending required in Asia is around US$ 1.7 trillion, I think the government can make up around 20% of the fund required and for private sector 10%,so you can see the investment gap in infrastructure is huge. And infrastructure is essential to a country's GDP.” Prof. KRIENGSAK Chareonwongsak said that even though competiveness of the region is increasing, but it is increasing not as the speed that it should be, because the region has not been properly digitalized. This is a major issue in my assessment in looking at the future of the region. Mr. LEE Heng Guie pointed out that Regional integration is important. The government, institution and central bank need to share information to avoid the next financial crisis. A lesson to learn from the 1997-1998 and 2008-2009 financial crisis is that not just deepen our integration from financial and economic (aspects), but also we need to share information. Mr. Lincoln LEONG stressed that urbanization would be the key driver of infrastructure, retail and education and so on. He also mentioned the connectivity would further enhanced by the Hong Kong-Zhuhai-Macao Bridge and the Express Rail Link, while at that time we could enjoy a trip to Guangzhou within an hour, and around 10 hours to Beijing. He also mentioned that the Hong Kong-based railway operator is eying on projects in Asian countries, like Indonesia, Thailand, India, etc. Mr. LIN Jingzhen highlighted that he believes in the potential economic growth of East Asia as Asia has become the key driver of the global economic growth. Despite East Asia has experienced few financial crises, it will still show its economic significance and Hong Kong can play its role as financial service provider regarding the expected global infrastructure investment to reach $260 million in 2030 and East Asia will contribute more than 60 percent of the total amount. He also pointed out that Hong Kong can attract investment from East Asia as an offshore (RMB) financial centre, as the use of Renminbi became more popular in East Asia while more and more countries start to include yuan in their foreign exchange reserves. -- Ends -- About China Daily Asia Leadership Roundtable China Daily Asia Leadership Roundtable is a by-invitation network of movers and shakers in Asia providing platforms for focused dialogue, issue investigation, and possible collective action on strategic issues relating to economic, business and social development in Asia. Our aim is to enhance communication and increase mutual understanding between China, Asian and Western countries. Roundtable events are held in major cities across Asia. Media Contact: Ms. Cindy Chan Tel: (852) 3465 5431 Email: cindy@chinadailyhk.com
2017-07-11Investment openings in East Asia galore as demand for building projects, housing soars: Experts East Asia offers huge development potential with the rise of the middle-class group, while infrastructure construction presents tremendous business opportunities, industry insiders and experts told a forum themed "The prospects of the East Asian market in the new global economy" in Hong Kong on Tuesday. "Growth in ASEAN (Association of Southeast Asian Nations) is tremendous and GDP growth (of the region) is one of the highest in the world," Patrick Ip, managing director of China-ASEAN Investment Cooperation Fund (CAF), said at the forum organized by China Daily Asia Pacific as part of the Hong Kong Summit. The GDP per capita of the ASEAN countries is also growing at a rapid pace which, in Ip's words, is "catching up with the Western world". However, investments in infrastructure are not able to meet the demand at present, he noted. "According to the Asian Development Bank, annual infrastructure spending required in Asia is around $1.7 trillion. I think governments can make up around 20 percent of the funds needed, and for the private sector, 10 percent. So, you can see there's a huge investment gap in the infrastructure sector." Banking on huge opportunities in ASEAN, CAF has been actively investing in a range of sectors in the region, including shipping and logistics in the Philippines, a port in Thailand and healthcare in Singapore. Slowdown worries Kriengsak Chareonwongsak, president of Thailand's Institute of Future Studies for Development, expressed concern that East Asia's speed of growth will slow down. "Due to the Trump syndrome, Brexit and many other issues all over the world, trade openness has been seen to decrease this year," he said, urging the region to work on trade openness in order to make Asia the new driving force of the world economy. He said the level of trade openness in East Asia was the highest in 2000, contributing 110 percent of GDP (not including China), but the percentage had dropped to 85 percent in 2015. "Competitiveness in the region is on the rise, but it's increasing not at the speed it should be because the region has not been properly digitalized," Kriengsak said, adding it's a major issue in his assessment in looking at the region's future. But he has seen some East Asian countries changing the situation by concentrating on developing their own technologies, and scientific papers from the Asian region are increasing. Another opportunity he found is that East Asia has the fastest growing middle-class group in the world, and their purchasing power could present a new development opportunity. The region's growing middle class would lead to increased demand for infrastructure and housing in those countries, Ip said. Lin Jingzhen, deputy chief executive of Bank of China (Hong Kong) Ltd, agreed that the middle class is growing rapidly in the region, and the demand for family and personal-wealth management is rising accordingly, providing abundant opportunities for Hong Kong enterprises. He expects Hong Kong to play a significant role as a financial services provider in global infrastructure investment, which is expected to reach $26 trillion by 2030, with East Asia contributing more than 60 percent of the amount. Sound model needed David Deng, general manager of the Capital Investment and Management Department of China Merchants Group Ltd (CMG), believes that developing a sound investment model is vital for enterprises to explore overseas markets, especially in Belt and Road (B&R) projects. CMG - a State-owned conglomerate based in Hong Kong - has created a port-park-city (PPC) model, which addresses the financial implications of the B&R Initiative, he said. By late last year, CMG's overseas assets had reached 591.2 billion yuan ($87 billion), accounting for 8.6 percent of its total assets. The company is conducting business in six continents, involving ports, shipping, logistics, financing and trade. Lincoln Leong, chief executive officer of Hong Kong's MTR Corporation Ltd, stressed that international and inter-regional connectivity offers significant opportunities. Besides Hong Kong, MTR Corporation operates on the Chinese mainland and in the United Kingdom, Sweden and Australia. "The population we carry outside Hong Kong is the same as the number here (Hong Kong)," he said. Lee Heng Guie, executive director of the Socio-Economic Research Centre of the Associated Chinese Chamber of Commerce and Industry of Malaysia, said although East Asia's economic growth has rebounded this year, thanks to a synchronized global recovery, a number of challenges still confront economies in the region. He said globalization is showing a reverse trend, with new trade restrictions emerging, as well as persistent policy uncertainties, monetary policy tightening and other factors that require policymakers to take measures to ensure stronger and sustainable growth under the new economic normal. Although integration of countries in the region is deepening, considerable regulatory and other barriers still exist, hampering the process, Lee warned, adding that the pace of financial integration has lagged behind trade integration. Stressing the importance of regional integration, he said "information sharing" is also essential for healthy economic growth. "Governments, institutions and central banks need to share information to avoid another financial crisis. A lesson from the 1997-1998 and 2008-2009 financial crises is that (we need to) not only deepen our integration from the financial and economic (aspects), but also share information." grace@chinadailyhk.com
2017-07-112017年7月11日香港 - 中國日報今日假香港會議展覽中心舉辦了「企業家學者剖析區域經濟機遇和挑戰 新經濟格局下的東亞市場發展前景」論壇。六位商界精英和學者與逾300位參會者展開了分析與對話。 應香港中華總商會邀請,中國日報承辦了“香港高峰論壇”的該分論壇。 本次論壇是由中國日報與香港中華總商會首次合作,中國日報也是唯一的分論壇策略夥伴。論壇以「香港與東亞區域合作:創新思維 迎新機遇」為題,從宏觀角度出發,以嶄新思維,探討環球經濟新形勢發展,特別是「一帶一路」倡議和「東盟經濟共同體」的成立對促進東亞自由貿易與區域整合發展帶來的挑戰與啟示,洞悉箇中商機。在創新產業、數碼經濟等經濟發展新領域,探索東亞市場發展新空間。 中國日報邀請到招商局集團資本運營部部長鄧偉棟博士、中國-東盟投資合作基金董事總經理葉家強先生、泰國未來發展研究所總裁克令薩‧夏理汪賽教授、馬來西亞中華總商會社會經濟研究中心執行董事李興裕先生、香港鐵路有限公司行政總裁梁國權先生,及中國銀行(香港)有限公司副總裁林景臻先生等六位國內外專家,分析本地區金融市場的機遇與挑戰,香港在與東亞基建工程融資之優勢,以及傳統與高科技產業之間互動及未來機遇。 招商局集團資本運營部部長鄧偉棟博士指出,招商局集團在「一帶一路」倡議中扮演先鋒角色,並創造「前港-中區-後城」模式,力求在「一帶一路」域內把握機遇。鄧博士還說,招商局集團在業界擁有旗艦地位,在19個國家和地區擁有49個港口,在全球38個國家和地區擁有96個自營網點。 中國-東盟投資合作基金董事總經理葉家強先生表示:「根據亞洲開發銀行的數據,亞洲每年所需的基礎建設資金達到1.7萬億美元,其中,我覺得政府只能提供20%,而私營領域最多提供10%所需資金。所以亞洲對於基礎建設投資資金的需求是巨大的,而一個國家的基礎設施建設對這個國家的GDP增長有巨大的作用。」 泰國未來發展研究所總裁克令薩‧夏理汪賽教授強調,儘管我們的競爭力不斷增強,但是這遠遠不夠,因為域內並未完全實現數字化。在我看來,這是區內各地將面臨的主要問題。 馬來西亞中華總商會社會經濟研究中心執行董事李興裕先生認為區域合作很重要。政府、機構和中央銀行應共享信息,避免金融危機再次爆發。我們需要從1997-1998和2008-2009年金融危機中吸取的教訓是,各經濟體不僅需要進行經濟和金融融合,而且需要信息共享。 香港鐵路有限公司行政總裁梁國權先生指出,城市化的發展將對基礎設施建設、零售業、教育等行業產生重要影響。他說,隨著港珠澳大橋和廣深港高速鐵路的建成,域內「一小時生活圈」的願景將得以實現,香港與北京的單程陸路通勤時間也將縮減到10小時以內。 他續指,港鐵公司將繼續著眼在亞太地區鋪開項目,加大在相關區域的投資,包括印度尼西亞、印度、泰國等國家。 中國銀行(香港)有限公司副總裁林景臻先生表示環球經濟重心已經轉向亞洲,成為世界經濟增長的火車頭。盡管東亞地區在20多年間經曆了多次的金融危機,但仍可以發揮重要作用。到2030年,亞洲基礎設施建設投資需求將超過26萬億美元,其中超過60%的需求來自東亞地區。香港的金融服務可以發揮相應作用。人民幣在東亞地區的使用率也在不斷提高,越來越多的國家把人民幣納入官方外匯儲備。作為人民幣離岸中心,香港可以吸引更多的東南亞投資。 香港中華總商會創建於1900年,擁有六千多家企業會員,是香港最大的商會。 中國日報社擁有報紙、網站、移動客戶端、臉譜、推特、微博、微信、電子報等十餘種媒介平臺,全媒體用戶總數累計約6100萬;紙媒發行量90萬份,其中9個海外版發行60萬份;網站日均訪問量(PV)5200萬,全球移動客戶端用戶達820萬;海外供版的《中國觀察報》(China Watch)直達美國《華爾街日報》和《華盛頓郵報》、英國《每日電訊報》、法國《費加羅報》、《俄羅斯報》、日本《每日新聞》、泰國《民族報》、阿根廷UNO報業集團等美、歐、亞主流讀者群,期均發行500餘萬份。 「中國日報亞洲領袖圓桌論壇」旨在搭建一個由亞洲國家和地區的政、商、學界領袖和社會精英參與的高端對話和交流平台,圍繞亞洲地區經濟、商業、產業和社會發展等具有戰略影響的重要議題展開討論,至今在港澳和亞太多個國家和地區已舉辦了超過50 屆,逾2 萬名決策精英參加。請瀏覽www.cdroundtable.com了解更多關於「中國日報亞洲領袖圓桌論壇」的信息。 ——完—— 媒體垂詢: 陳小姐 電話:(852) 3465 5431 電郵:cindy@chinadailyhk.com
2017-07-11Making its first investment in the ASEAN (Association of Southeast Asian Nations) member states in 2010, quasi-sovereign equity fund China-ASEAN Investment Cooperation Fund (CAF) has taken the lead under the China-led Belt and Road (B&R) Initiative, striking a balance between profit-making and promoting infrastructure development in the 10-member regional grouping. The first tranche of CAF's $1-billion investment pool has been plowed into 10 ASEAN projects that are mainly engaged in infrastructure, energy and natural resources. "We've been investing in the Philippines' largest shipping and logistics company, the largest port in Thailand and the largest telecommunication infrastructure providers in Cambodia and Myanmar. We've also invested in the fast growing healthcare sector in Singapore," CAF Managing Director Patrick Ip told the Hong Kong Summit forum on Tuesday. He said there are great investment opportunities in the ASEAN countries, given the asymmetry between its strong growth and the huge investment gap. Citing figures from the Asian Development Bank, Ip said infrastructure in Asia requires an annual spending of about $1.7 trillion. He estimated that governments can contribute 20 percent of the funds required, while the private sector can pump in 10 percent. The investment gap infrastructure is huge, he noted. CAF, sponsored by the Chinese mainland's Export-Import Bank of China, is currently fundraising for the second tranche, and the exercise is expected to be completed in the fourth quarter of this year, with a target of raising $1 billion to $3 billion. The US dollar-denominated offshore fund has seen six of its 10 investment projects successfully exited, recording a double-digit returns rate. According to Ip, an initial public offering is not their first choice under the exiting strategy, "Take the Philippines as an example, the daily transaction volume of their stock exchange is around $200 million - just a fraction of that of the Hong Kong stock market," he said, adding that it's difficult for investee companies to go public. However, Ip stressed that pursuing high returns is not their ultimate goal, and their investment philosophy is to help potential companies grow. When CAF invested in the Philippines' largest shipping and logistics company several years ago, the earnings before interest, tax, depreciation and amortization (EBITDA) was low, but the figure has improved significantly in recent years, Ip said. Apart from providing financing, the fund also assisted the Philippine company to improve and grow as part of its value-added post investment strategy. Compared to other funds, Ip said CAF is more risk-averse. The gesture of investing in investee companies serves as credit enhancement which gives them more leverage in further fund-raising. The fund can also help them tap into the mainland market with the fund's extensive resources - perks that other funds might not have. After a seven-year thrust into ASEAN, Ip said risks like geopolitical disputes could impose challenges for Chinese mainland investors. He's glad to see that strategic projects like the B&R Initiative can largely mitigate tension. Building trust between China and ASEAN countries is important for Chinese investment, he said. evelynyu@chinadailyhk.com
2017-07-11Thanks to our friends at the China Daily Hong Kong for inviting us to their Roundtable Summit on “Sino-Foreign Co-produced Films Summit” at FILMART last week! We wanted to share a bit of coverage from he event for those who couldn't make it. - Film industry elite gather for China Daily Film Summit To Define Sino-Foreign Film “Co-Production 3.0 Era” MARCH 16, 2017, HONG KONG: More than 250 delegates from the movie industry around the world attended the China Daily Asia Leadership Roundtable Panel on “Sino-Foreign Co-produced Films Summit” from 10:30am to 12:30pm at FILMART. We are delighted to work with Hong Kong Trade Development Council again as Media Partner for FILMART 2017 for the fifth consecutive year. Sino-Foreign co-productions had bolstered China’s box office more than three-fold between 2010 and 2016. Last year alone, 8 out of 10 top-grossing films on the Chinese mainland were co-productions, including “The Mermaid”, which netted more than 3.3 billion yuan (US$480 million). Recent notable co-productions included “The Great Wall” and “Kung Fu Yoga”. China has co-production agreements with more than 13 countries and regions so far, and the number is rising. As the nation’s movie industry continues to grow rapidly on the back of collaboration in capital, content, talent and distribution, the role of Sino-Foreign co-productions in the global film market calls for a deep analysis. Mr. Raymond YIP, Deputy Executive Director of Hong Kong Trade Development Council welcomed the distinguished speakers from across Asia by pointing out that with the passing of the “Film Industry Promotion Law” by the Standing Committee of the National People’s Congress last November, it indicates China’s intense focus on the development of a vibrant and structured local film industry. The steady growth of the film business on the mainland in the long run will certainly benefit more Sino-Foreign co-productions。 China Daily is delighted to have had ten distinguished speakers including Mr. Teddy CHEN, Famous Hong Kong Film Director; Mr. William FENG, Head of Greater China and Vice-President of Asia Pacific, The Motion Picture Association (MPA); Ms. Amy LIU, Partner, EntGroup; Mr. CT YIP, Executive Director, Media Asia Group Holdings Limited & CEO, Lai Sun Group; Mr. YA Ning, Senior Vice-President, iQIYI and CEO, iQIYI Motion Pictures; Mr. CHEN Yiqi, Chairman, Sil-Metropole Organisation Ltd; Ms. Ann AN, Chairman, Desen International Media; Mr. Dagan POTTER, Production Lead, Oriental Dreamworks; Mr. William PFEIFFER, Executive Chairman & Co-Founder, Globalgate Entertainment and Dr. MA Runsheng, Former President, China Radio, Film and Television Program Exchange Center & Vice President, China Television Drama Production Industry Association. They analyzed the opportunities and challenges for China’s movie business in the coming years, and how industry players can make the most out of such co-operation in the “co-production 3.0 era”. Mr. Teddy CHEN shared his view on the topic, “today there's no such thing as a pure Mainland film, Hong Kong film or Taiwan film. They have integrated with one another already.” Mr. William FENG mentioned that China's cooperation with the western in film making will be more and more, not only through co-production but also by general cooperation based on local production. For Chinese films to go out, we need to improve our story telling skills to allow the world to understand Chinese stories. Ms. Amy LIU expressed that the development potential for China's co-production film market is huge as the number of Chinese people's average times on watching films is still quite low currently, despite the rapid sales growth in box office in Chinese mainland. Mr. CT YIP pointed out that Film industry in Chinese mainland has been developing fast, especially including the development of internet ticketing and distribution platforms. And films are the crystallisation of humans' thoughts and creation, so people in the industry need to keep learning, observing and changing to meet the challenges. Mr. YA Ning stressed that It takes time for us to figure out how to promote the Chinese films to the US and overseas markets and to adapt our productions to suit overseas audience's viewing habits. Mr. CHEN Yiqi said diversity of co-production should be explored and encouraged. China can invest in US films and the other way around, and US filmmakers can also remake Chinese films and vice versa. Ms. Ann AN highlighted that mastery of Hollywood's production skills and camera language is one of the preconditions to successfully export Chinese culture. Mr. Dagan POTTER said that we had a distinctive advantage of having a China-based crew, as well as Los Angeles-based crew. The collaboration between these two groups could bring unique ideas and visions to our process. Mr. William PFEIFFER expressed that the lines will be more blurry when it comes to co-production. Globalization is inevitable and technology is key to solve problems in co-production. Someday, actors will be able speak their language and the translated words just come out. Dr. MA Runsheng stressed that Sino-foreign co-produced film is a great attempt for Chinese culture to go out and international advanced culture to enter China, but great co-production piece has not born yet. This is the current reality. -- Ends – Co-organized with the Hong Kong Trade Development Council for the fifth consecutive year, China Daily Asia Leadership Roundtable held a panel at FILMART on “Sino-Foreign Co-produced Films Summit” on March 16. Delegates at the summit listening to speakers’ comments on Sino-Foreign Co-produced Films. Distinguished speakers analyzing the opportunities and challenges for China’s movie business in the coming years, and how industry players can make the most out of such co-operation in the “co-production 3.0 era”. About China Daily Asia Leadership Roundtable China Daily Asia Leadership Roundtable is a by-invitation network of movers and shakers in Asia providing platforms for focused dialogue, issue investigation, and possible collective action on strategic issues relating to economic, business and social development in Asia. Our aim is to enhance communication and increase mutual understanding between China, Asian and Western countries. Roundtable events are held in major cities across Asia. Source:http://http://www.alivenotdead.com/alivenotdead/filmart-china-daily-roundtable-summit-coverage
2017-03-22(2017年3月22日,香港) 由亞洲電影大獎學院主辦、創意香港及電影發展基金資助的第十一屆亞洲電影大獎,已於昨日(3月21日)假香港文化中心隆重舉行,圓滿結束。來自世界各地多個地區的入圍者及亞洲電影工業的幕前幕後精英,都盛裝出席並賀亞洲電影大獎十一週年。 本年度的得獎者於昨晚逐一揭曉,最佳電影是由馮小剛執導的《我不是潘金蓮》(中國大陸);最佳導演是《哭聲》(南韓)的羅泓軫;淺野忠信憑《奏不響的風琴》(日本)成為最佳男主角,他於年憑《身後戀事》(法國,日本)獲得最佳男配角,連續兩年在亞洲電影大獎獲得殊榮;而最佳女主角則由范冰冰憑《我不是潘金蓮》(中國大陸)奪得;林雪憑《樹大招風》(香港)成為最佳男配角;《下女誘罪》(南韓)的兩位女演員文素利和金泰璃,分別獲得最佳女配角和最佳新演員。 技術獎項方面,最佳編劇是《伊朗式遷居》(伊朗,法國)的阿斯加法哈迪;最佳剪接是《身後仕》(新加坡,德國,法國,香港,卡塔爾)的利查泰米提古和蘇智韻;最佳攝影是《我不是潘金蓮》(中國大陸)的羅攀;最佳原創音樂由《密探》(南韓)的MOWG;最佳造型設計是《下女誘罪》(南韓)的趙常景;最佳美術指導由《下女誘罪》(南韓)的柳成熙奪得;最佳視覺效果則是《真.哥斯拉》(日本)的大屋哲男;最佳音響是《長江圖》(中國大陸)的房濤和郝智禹。 香港著名電影人徐克榮獲頒「終身成就獎」,以表揚他在藝術、文化和商業成就方面對亞洲影壇作出的非凡貢獻和深遠影響;香港演員及歌手鄭秀文獲頒「卓越亞洲電影人大獎」,對其推動亞洲電影的卓越成就和貢獻予以肯定;憑《美人魚》獲得最佳新演員提名的中國新星林允,則獲頒「亞洲飛躍演員大獎」,以表彰她在亞洲電影工作上出色成就和非凡突破。 今年共有34部來自12個地區及國家的作品,入圍73項提名,角逐15個獎項。當中南韓導演朴贊郁的話題電影《下女誘罪》橫掃六項提名,最後囊括四獎,包括最佳女配角、最佳新演員、最佳造型設計、最佳美術指導;而由馮小剛執導、獲得五項提名的《我不是潘金蓮》,則奪得了三個大獎,包括最佳電影、最佳女主角和最佳攝影。 亞洲電影大獎 一年一度的亞洲電影大獎於2007年創辦,旨在表揚傑出的亞洲電影作品和人才,並展示亞洲電影界的多元文化和活力。頒獎典禮當晚,區內電影界台前幕後的精英聚首一堂,共同嘉獎該年度成績卓越的電影作品和電影工作者,吸引世界各地媒體出席及報導當晚盛況。 亞洲電影大獎在香港舉行了首七屆頒獎典禮,2014年移師至亞洲娛樂樞紐澳門,並計劃在未來繼續巡迴到亞洲不同地區舉行,彰顯大獎在區內的廣泛代表性。 亞洲電影大獎學院 亞洲電影大獎學院於2013年由亞洲三大國際電影節,即香港、釜山及東京國際電影節共同創立,學院的宗旨是推廣及促進亞洲電影、培育區內電影人才、以及拓展電影觀眾群。學院藉著舉辦一年一度的亞洲電影大獎及全年多元化的各類活動,從而凸顯、加強及建立越趨蓬勃的亞洲電影業及其多變的電影文化。 學院會員大多為歷屆亞洲電影大獎的入圍者和得獎者,他們在每屆亞洲電影大獎中均擁有投票權,亦可優先參與學院於亞洲及以外地區所舉辦的各類活動。 自2015年起,學院推出一系列的推廣及交流活動,包括大師班、學生觀摩團、電影專才海外實習計劃及巡迴放映,旨在向亞洲及以外的電影工作者、學生團體及廣羅大眾等,介紹亞洲電影工業及文化,促進區內電影業的互動和發展。 亞洲電影大獎學院的成立印證了亞洲電影在國際間的創造力和影響力正在迅速提升。學院將致力聯繫亞洲各地區電影工作者,積極推動亞洲電影文化發展。 創意香港 創意香港是香港特別行政區政府商務及經濟發展局其下一個專責辦公室,於二零零九年六月一日成立,重點工作是去牽頭、倡導和推動本港創意經濟的發展。創意香港統籌政府在創意產業方面的政策和工作;把政府用作推動和加快香港創意產業發展的資源集中起來;並與業界緊密合作,推動創意產業的發展。如欲了解更多有關創意香港的資料,請瀏覽http://www.createhk.gov.hk/。 香港電影發展基金 香港特別行政區政府於1999年成立電影發展基金,為有利香港電影業發展的項目和活動在財政方面提供支持,包括為中低成本的電影製作提供部分融資;加強在內地和海外推廣香港電影;加強在電影製作和發行各方面培訓人才的措施;及提高本地觀眾對香港電影的興趣和欣賞能力。如欲了解更多有關電影發展基金的資料,請瀏覽http://www.fdc.gov.hk/tc/services/services2.htm。
2017-03-22(March 22, 2017, Hong Kong) Organized by the Asian Film Awards Academy (AFA Academy) with the financial support of Create Hong Kong and Hong Kong Film Development Fund, the 11th Asian Film Awards (AFA) was held yesterday on March 21, 2017 (Tuesday) at the Hong Kong Cultural Centre. The final winners were announced last night on the ceremony - Best Film goes to I Am Not Madame Bovary (Mainland China) directed by FENG Xiaogang; Best Director is NA Hong-jin for The Wailing (South Korean); Japanese actor ASANO Tadanobu wins Best Actor for his role in Harmonium (Japan). ASANO has also won the Best Supporting Actor award last year for Journey to the Shore (France, Japan); Best Actress is Chinese actress FAN Bingbing for her role in I Am Not Madame Bovary (Mainland China); Best Supporting Actor goes to Hong Kong actor LAM Suet for his role in Trivisa (Hong Kong); South Korean actresses MOON So-ri & KIM Tae-ri are named Best Supporting Actress & Best Newcomer respectively, for their roles in The Handmaiden (South Korea). Technical awards winners are: Best Screenplay: Asghar FARHADI, The Salesman (Iran, France); Best Editing: Lee CHATAMETIKOOL & Natalie SOH, Apprentice (Singapore, Germany, France, Hong Kong, Qatar); Best Cinematography: LUO Pan, I Am Not Madame Bovary (Mainland China); Best Original Music: MOWG, The Age of Shadows (South Korea); Best Costume Design: CHO Sang-kyung, The Handmaiden (South Korea); Best Production Design: RYU Seong-hie, The Handmaiden (South Korea); Best Visual Effects: OHYA Tetsuo, Shin Godzilla (Japan); and Best Sound: FANG Tao & HAO Zhiyu, Crosscurrent (Mainland China). Hong Kong filmmaker TSUI Hark accepted the Lifetime Achievement Award, as a recognition of his fundamental achievements and a lasting impact of outstanding artistic, cultural and commercial significance in Asian cinema. Hong Kong actress-singer Sammi CHENG Sau-man accepted the Excellence in Asian Cinema Award, as a recognition of her distinguished talents and affirmation of her achievements and contributions to Asian film industry and culture. Chinese young actress Jelly LIN, who is nominated as Best Newcomer for her leading role in Mermaid, received the Rising Star of Asia Award for her exceptional talent and breakthrough in Asian cinema in the past year. This year, 73 nominees of 34 films from 12 countries competed for the final Asian Film Awards in 15 categories. South Korean film The Handmaiden, directed by PARK Chan-wook, has won four awards out of six nominations, including Best Supporting Actress, Best Newcomer, Best Costume Design and Best Production Design. FENG Xiaogang’s I Am Not Madame Bovary, has won three out of five nominations, including Best Film, Best Actress and Best Cinematography. Asian Film Awards (AFA) Inaugurated in 2007, the Asian Film Awards celebrates excellence in Asian cinema through the annual presentation of awards to talents and films that make up the dynamic film industries of Asia. Awards night is a spectacular gathering of stars, celebrities, industry professionals and the media that highlights and publicizes the year’s achievements in Asian movies. Presented in Hong Kong in its first seven years, the Awards moved to one of Asia’s fastest growing entertainment hubs, Macau, in 2014 – one step closer to its long-term plan of being held in different Asian cities to reflect its broad reach across the entire region. Asian Film Awards Academy (AFAA) In 2013, three main Asian film festivals – Busan, Hong Kong and Tokyo – joined together to create the non-profit organization, the Asian Film Awards Academy to promote and develop Asian cinema and its talents. The AFA Academy highlights, strengthens and develops Asian film industry and culture through the annual Asian Film Awards, and several year-round initiatives including strategies for building regional and international audiences. Members of the AFA Academy are drawn from all past nominees and winners of the Asian Film Awards. Members vote for the Asian Film Awards and also participate in various AFA Academy activities involving film professionals and audiences in Asia and around the world. In 2015, the AFA Academy launched events and activities including the Masterclass Series, Journey to the Fest, Asian Cinerama and Young Film Professionals Program to promote, educate, inform and develop knowledge, skills and interest in Asian cinema among the industry, students and audiences in Asia and beyond. The AFA Academy expresses the increasing global importance and creative strengths of Asian films and aims to unite the industries and talents of the fast-growing region. Create Hong Kong Create Hong Kong is a dedicated office set up under the Commerce and Economic Development Bureau of the Government of the Hong Kong Special Administrative Region on 1 June 2009 to lead, champion and drive the development of the creative economy in Hong Kong. It co-ordinates Government policy and effort regarding creative industries, focuses Government resources for the promotion and speeding up of the development of creative industries in Hong Kong, and works closely with the trade to boost the development of creative industries. For more details, visit www.createhk.gov.hk/. The Hong Kong Film Development Fund The Hong Kong Film Development Fund was first set up by the Government of the Hong Kong Special Administrative Region in 1999 to fund projects and activities which contribute towards the development of the Hong Kong film industry, including part-financing small-to-medium budget film productions; enhancing efforts to promote Hong Kong films in the Mainland and overseas; enhancing initiatives to train talents in various aspects of film production and distribution; and enhancing the interest and appreciation of Hong Kong films by the local audience. For more details, visit www.fdc.gov.hk/tc/services/services2.htm.
2017-03-22The potential of Sino-foreign co-productions to dominate the film industry is enormous, says Teddy Chen, director of Bodyguards and Assassins which scooped eight awards at the 29th Hong Kong Film Awards in 2009. Upbeat about the prospect of co-productions, Chen also expects to see diverse forms of cooperation between filmmakers, investors and film producers at home and abroad. China enjoys a wealth of unique advantages in making films which foreign filmmakers can harness, and vice versa, Chen pointed out. Utilizing the unique strengths from each side could lead to a maximization of benefits for the co-produced films, he added. China’s rich history and exceptional ethnic culture provides an unlimited source of inspiration for filmmakers. The storyline of Chen’s Bodyguards and Assassins which took 290 million at the Chinese box office was based on the Xinhai Revolution of 1911. “Some plots in the film were original while some were fictional, but I made sure they were faithful to the historical truths,” added Chen. China’s vast land and abundant natural landscapes make for ideal film shooting locations. Chen attributed the success of his film Bodyguards and Assassins largely to its elaborate sets, replicating Hong Kong’s Central district in the 1900s. The sets, however, were set up in the western suburb of Shanghai. A co-production, especially if it’s an action film, can hardly be a success without using sophisticated shooting and post-production technologies that overseas filmmakers are good at, noted Chen. “We have a pool of martial arts actors, but what we lack are the technologies that can add special effects to the action. Foreign technologies allow us to bring more spectacular stunts to the screen, saving our actors from risking their lives doing dangerous stunts,” he said. Chen is earnestly concerned about the quality of co-productions. Referring to the spate of co-produced films released in recent years, Chen said, only a fraction of these has left a lasting impression on the audience. “There are no stories in those films, no real substance there,” he remarked. He also noted that a co-production was not simply about putting together crew members from different nationalities, it was essentially about finding a point of “conflict” which could serve as the pivot of the story. A similar sentiment was echoed by Chen Yiqi, chairman of Sil-Metropole Organization. He noted that co-operations in filmmaking may not be confined to engaging people from different countries or regions in a project. “Chinese companies invest in US films, Chinese directors direct US-invested films, US filmmakers reproduce Chinese films — all of which count as cooperation.” Source: http://www.chinadailyasia.com/2017-03/17/content_15587286.html
2017-03-21Of the 10 highest grossing movies on the Chinese mainland last year, eight were coproductions with other regions.For China, joint productions are widely seen as a way to draw upon talent, technology, and help in telling the China story. For the West, those same joint productions are a means of tapping a market of 1.3 billion people — the film industry’s second-largest market by box office receipts. But as collaboration grows between Hollywood and China, what are the opportunities and what are the challenges? Coproduced movies are paving the future of the film industry, said Zhou Li, publisher and editor-in-chief at China Daily Asia Pacific and editorial board member of China Daily Group. He was speaking on March 16 at the Sino-Foreign Coproduced Films Summit, a China Daily Asia Leadership Roundtable which brought together filmmakers, producers and industry investors and was held during the Hong Kong International Film & TV Market (Filmart) at the Hong Kong Convention and Exhibition Centre. Last year, joint Chinese mainland and Hong Kong comedy The Mermaid “became the highest grossing Chinese film of all time”, Zhou said. Yet the Sino-Hollywood action-fantasy movie The Great Wall found itself unable to claw back either profits or plaudits. “China has already entered coproduction with 14 countries and regions,” said Zhou. “It seems to me (that) when these cultures join forces, it is going to be a happy day for cinema.” With Filmart hosting over 800 exhibitors from more than 30 regions, it is evident how important the market for movies has become in China, said Raymond Yip, deputy executive director of the Hong Kong Trade Development Council. “Among those 800 exhibitors, we have 200 from the Chinese mainland,” he said. Chen Yiqi, chairman of Hong Kong film production and distribution corporation Sil-Metropole Organisation, said Chinese films must play catch-up, simply because the United States has been making films for so long and its technology is more advanced. One way is for Hong Kong to act as the bridge for China and the West to collaborate. For Teddy Chen, a Hong Kong film director known for the likes of 2009’s award-winning Bodyguards and Assassins, such coproduction is nothing new. His first joint work was in the early 2000s, and he believes that ties since then between the Chinese mainland, Hong Kong and Taiwan have reached a point of total integration. “(At first) I had to think about how I should divide characters between Hong Kong and mainland actors,” the director said. “Eventually I realized it didn’t matter, so long as audiences like it.” Entertainment research service, marketing and investment firm EntGroup is one example of the new wave of multi-area companies investing heavily in the entertainment industry. For Amy Liu, a partner at the company, “the opportunities are great, the investments large, but the returns are rarely what are expected”. Compared to last year, for example, more coproductions have been proposed, and more developed, yet fewer have actually made it onto screens, she said. Some of this is down to censorship. In other cases it is due to financial problems or cultural issues. For film producer and distributor Ann An, chairman of Desen International Media, these are the sorts of headaches that can mean the collapse of deals. An has worked successfully with many Hong Kong and Taiwan companies, but attempts to team up with European and US companies have been far less successful. Joint financing is one issue. American coproducers want to work with the Hollywood model and costs are simply too high for the Chinese side. An cited one coproduction she backed out of for that reason. “There are few successes in coproductions. Many incur losses because we do not understand Hollywood. We think we’re investing a lot (of money) but to Hollywood it’s just peanuts,” she said. Ya Ning, senior vice-president of iQIYI, an online video platform that also produces its own television shows and movies, made the point that while Chinese audiences are “very accustomed to watching American movies”, American audiences do not like watching Chinese movies with subtitles. And they refuse to watch them dubbed. “I think we might do better with cartoons,” Ya said. Indeed, animated hits have figured among the few highly successful coproductions. One case study is Kung Fu Panda 3, made by a team of American and Chinese designers, scriptwriters and actors. Dagan Potter is production lead for Oriental Dreamworks, the Shanghai-based department of the wider Dreamworks company, which made Kung Fu Panda 3. For him, the film’s success (its China box office was more than US$149 million) was in the investment of time and effort to make sure things rang true. “If we’re a bit off in architecture or a garment, it won’t be noticed in Europe,” he said. “But it will be noticed in China.” In collaborative work, cultural similarities, not differences, must be looked for, Potter explained. Panelist William Pfeiffer concurred. By relying on underlying themes and emotions rather than specifics, as well as “a good story and the right elements in it, (a film) can go around the world”, he said. Pfeiffer’s company Globalgate Entertainment takes intellectual property, scripts and ideas from partner movie companies and helps remake or sell them in other markets. He helped produce the Oscar winning film Crouching Tiger, Hidden Dragon, which he said “was more successful in the US than China, because (China) hadn’t evolved to where it is today”. One reason was that the script, though written by Chinese, had its structure worked on by American screenwriters. Another famous Hong Kong movie, Infernal Affairs, was also tightened by foreign screenwriters. It was sold and remade in America as The Departed, which won four Oscars, including for best adapted screenplay. “These things are not unusual anymore,” said Pfeiffer. “Globalization is an inevitable factor, and a positive factor, in the entertainment industry.” CT Yip, executive director of Media Asia Group Holdings, agreed. “If you look at other markets, like mobile phones, mainland Chinese buyers don’t care about whether it’s made in the US,” he said. William Feng, head of Greater China and vice-president of Asia Pacific for the Motion Picture Association, said that in the past eight years, film takings in China have almost doubled, but in the US they have fallen some 3 percent. When it comes to coproductions, success in China does not enamor American audiences. The Great Wall had an all-star Chinese and American cast and made about US$170 million in China. It took less than US$20 million in the US. “The Great Wall is a lesson for everybody,” said Feng. “But the market desperately needs more like this.” Source: http://www.chinadailyasia.com/2017-03/20/content_15588479.html
2017-03-21Cliched as it may sound, the aphorism “Content is king” emerged as one of the major takeaways from the China Daily-hosted Asia Leadership Roundtable on the theme of Sino-foreign co-productions held at the Hong Kong International Film and TV Market (FILMART) on Thursday. The panelists reiterated that while sharing of technology and skills are the two major thrust areas when it comes to co-productions, at the end of the day the key to their success lies in being able to tell a story that resonates across a wide swathe of audiences transcending national, and cultural, boundaries. The mood was upbeat at the panel discussion featuring eminent industry stalwarts — an illustrious film director, leaders of big-time film production companies, heavyweight producers of radio and television programs, among others. Indeed it was a moment worth celebrating the spectacular box-office takings of Chinese-foreign co-productions of the past year, as indeed it was of charting out a roadmap for the future. Editorial board member of China Daily Group and publisher and editor-in-chief at China Daily Asia Pacific Zhou Li remarked in his opening speech, 2016 has been a tremendous year for co-produced Chinese films, with Stephen Chow’s The Mermaid taking US$553.8 million at the box office, which makes it the highest-grossing Chinese film of all time. The film, a co-production between studios in the Chinese mainland and Hong Kong’s own Alibaba Pictures, has beaten the much-touted Hollywood mega project, the Zhang Yimou-directed The Great Wall, which despite having a star like Matt Damon in the lead, raked in only US$320 million. Telling tales Evidently, there was no sure-shot magic formula to tackle the unpredictable nature of box-office success — no fool-proof approach to arriving at cinema that might resonate across cultures, even when such experiments use actors, locations and stories that audiences from diverse backgrounds might identify with, as the Chinese audience’s lukewarm response to The Great Wall proves. However, the panelists almost unequivocally agreed that there was nothing to beat a good story, although sometimes it might take a bit of tweaking to appeal to an audience unfamiliar with the ethno-cultural references in the original. For instance, William Pfeiffer, executive chairman and co-founder of Globalgate Entertainment, drew attention to the very-successful run the Hong Kong-made film, Internal Affairs (2002) had enjoyed in its Hollywood avatar. “The story was so good that it was sold (to Warner Brothers) and remade as The Departed (2006) by Martin Scorsese and won the best picture Oscar.” Responding to producers such as Ann An, chairperson, Desen International Media, and Ya Ning, CEO, iQIYI Motion Pictures — who shared their experiences of dealing with the challenges of collaborating with overseas partners who did not speak the same language — Pfeiffer said, in 20 to 30 years, such constraints would likely be overcome with the aid of advanced technology. That’s when “actors speaking in Chinese might have the words come out in English, in their own voice”, he said. Kung Fu Panda 3, a Chinese-American co-production animation flick which raked in US$521.2 million last year, and finished among the top 10 highest-grossing films in China, is a fine example of working round the obvious limits of ethnicity and language. Here was a film with Hollywood luminary Guillermo del Toro as executive producer, featuring heavyweight stars such as Jack Black, Dustin Hoffman and Angelina Jolie, based on a Chinese story with Chinese sensibilities. Dagan Potter, the production lead at Oriental Dreamworks, revealed how the film’s massive American and Chinese crew, based in their offices in Los Angeles and Shanghai, would “discuss the merits of the film over two to three years”, sharing ideas and visions regarding the project. “If we were going to reinforce reality in fiction, who better than a crew having intimate knowledge of Chinese culture?” he added. He went on to describe how the film, originally made in English, “was re-animated to match the physical movements more natural to dialogues spoken in Mandarin”, for “making a film relatable to the local audience is an idea that we really want to push”. Ma Runsheng, former president of China Radio, Film and Television Program Exchange Center, lamented the diminishing presence of the big Chinese themes in the recent co-production endeavors involving Chinese investment. Emphasizing the cultural particularities that lend cinema its distinctive touch, Ma said, “The elements specific to Chinese culture are where our strengths lie and we should make use of advanced technology (harnessed from the partner country) to tell these great stories.” Source: http://www.chinadailyasia.com/2017-03/17/content_15587271.html
2017-03-21Hong Kong, March 16, 2017 - China Daily co-organized a special panel on “Sino-Foreign Co-produced Films Summit” with the Hong Kong International Film & TV Market (Filmart). Sino-foreign co-productions had bolstered China’s box office more than three-fold between 2010 and 2016. Last year alone, eight out of 10 top-grossing films on the Chinese mainland were co-productions, including “The Mermaid”, which netted more than 3.3 billion yuan (US$480 million). Recent notable co-productions included “The Great Wall” and “Kung Fu Yoga”. China has co-production agreements with more than 13 countries and regions so far, and the number is rising. As the nation’s movie industry continues to grow rapidly on the back of collaboration in capital, content, talent and distribution, the role of Sino-foreign co-productions in the global film market calls for a deep analysis. China Daily is delighted to have had 10 distinguished speakers: Mr. Teddy CHEN, a prominent Hong Kong film director; Mr. William FENG, Head of Greater China and Vice-President of Asia Pacific, The Motion Picture Association (MPA); Ms. Amy LIU, Partner, EntGroup; Mr. CT YIP, Executive Director, Media Asia Group Holdings Limited & CEO, Lai Sun Group; Mr. YA Ning, Senior Vice-President, iQIYI and CEO, iQIYI Motion Pictures; Mr. CHEN Yiqi, Chairman, Sil-Metropole Organisation Ltd; Ms. Ann AN, Chairman, Desen International Media; Mr. Dagan POTTER, Production Lead, Oriental Dreamworks; Mr. William PFEIFFER, Executive Chairman & Co-Founder, Globalgate Entertainment; and Dr. MA Runsheng, Former President, China Radio, Film and Television Program Exchange Center & Vice-President, China Television Drama Production Industry Association. They analyzed the opportunities and challenges for China’s movie business in the coming years and how industry players can make the most out of such co-operation in the “co-production 3.0 era”. Here is the video highlights of the event: https://youtu.be/kHWNCVPtIG8
2017-03-212017年3月21日(香港)— 拉丁美洲电影的悸动激情令人着迷,破格题材和手法常令人耳目一新。第四十一届香港国际电影节特别选映多部拉美电影,不乏国际得奖佳作。 巴西电影人才辈出,小克莱伯.门多萨的《不迁不拆水瓶座》(内地译名《水瓶座》)以音乐和节奏谱写保育女神对抗暴发地产商,入围戛纳电影节竞逐金棕榈奖,更连夺多地电影节最佳电影奖,而以《蜘蛛女之吻》成名的索尼娅.布拉加亦数度获封影后。马赛罗.戈麦斯的《淘金英雄》(内地译名《若阿金》)重塑巴西民族英雄席尔瓦·沙维尔的传奇,暴露殖民地时代的压迫剥削,入围柏林电影节角逐金熊奖。马西路卡坦努(Marcelo CAETANO)的《肌电工情》则藉肉体放电的男男情欲爱恋,以敏感目光捕捉阳光大男孩寻索人生方向。 阿根廷电影新力量亦备受瞩目。加斯顿.杜帕拉特与马里亚诺.寇恩的《玩谢大作家》(内地译名《杰出公民》)写诺贝尔奖作家衣锦还乡的荒诞奇遇,以《无定向丧心病狂》(内地译名《荒蛮故事》)扬名的奥斯卡.马丁内兹更摘下威尼斯影帝殊荣。智利导演帕布罗.拉雷恩以《第一夫人:积琪莲肯尼迪》(内地译名《第一夫人》)进军好莱坞前,亦早以该国诺奖诗人借题发挥,在《流亡诗人聂鲁达》(内地译名《追捕聂鲁达》)创造斗智斗力大追捕,获提名金球奖最佳外语片。卢卡斯连拿(Lukas V. RINNER)则借鉴若松孝二,结合性与革命的主题,在《隔墙有个天体营》(内地译名《得体的女人》)以双面女佣卸下衣裳加入天体俱乐部,讽刺阶级矛盾。 墨西哥影片的威力同样不容忽视。阿玛特.伊斯卡拉特凭《欲望号妖兽》(内地译名《野蛮地区》)一家男女与妖兽交欢满足性欲,以魔幻现实风格大胆袒露社会压抑与人性脆弱,勇夺威尼斯电影节最佳导演奖。露茜亚卡雷拉斯(Lucía CARRERAS)的《天降小娃娃》则是温情小品,透过两个社会边缘的女人照顾女婴重拾人性美善。更有参赛纪录片《假面的自白》、大师新作《无尽诗篇》(内地译名《诗无尽头》)及修复经典《低度发展的回忆》(内地译名《低度开发的回忆》)。节目详情可浏览官方网站www.hkiff.org.hk。 资料及图片下载: FTP: ftp://hkiff.mtel.ws 登入身份: Press 密码: HK1FFPress 资料夹: HKIFF41/Press Releases/20170321 - The Passion of Latin American Cinema – 完 – 香港国际电影节 (HKIFF) 简介 香港国际电影节 (HKIFF) 是亚洲最享负盛名的电影交流平台之一。世界各地的电影业界人士及影迷云集于此,展示新片之余亦欣赏佳作。 电影节是香港最大型的文化活动,每年搜罗来自 50 多个国家,约 250 部作品,在香港 10 多个主要文化场地上映。于过去七年,香港国际电影节曾制作及首映不少著名亚洲得奖导演制作的短片结集,包括许鞍华、黑泽清、贾樟柯、布里兰特·曼多萨、中田秀夫、蔡明亮、阿彼察邦·韦拉斯哈古等。2017 年起,香港国际电影节将与合一影业合作,每年选拔两位华人新秀拍摄剧情长片,并于电影节期间世界首映。 电影节既展示华语电影的多姿多采,亦发掘亚洲影坛新血。影迷不但可观看世界级的电影,更可与顶尖电影人直接对话、参观展览、出席庆祝派对和其他精彩活动。 电影节每年吸引超过 300 个中外媒体报导,持续成为亚洲举足轻重的电影发布及交流平台。 第四十一届香港国际电影节 (HKIFF41) 将于2017年4月11日至25日举行。 香港国际电影节协会简介 香港国际电影节协会 (HKIFFS) 是一个非牟利及非官方的慈善团体,致力发扬电影文化,推广光影艺术。 为发展香港及亚洲的电影文化,协会于每年三、四月期间均举办两项旗舰活动,包括“香港国际电影节 (HKIFF)”及“香港亚洲电影投资会 (HAF)”;八月份举办以年轻观众口味为主的“Cine Fan 夏日国际电影节 (SummerIFF)”。另外协会于2013年4月创办“电影节发烧友 (Cine Fan)”,节目旨于推广丰富多元的电影文化,每月为香港观众带来主流电影以外的精选佳作。 透过全年活动,协会期望加强世界各地对亚洲、香港及中国电影文化的欣赏,并把各地具启发性的电影带到香港,丰富本地精神文化生活。 香港国际电影节协会致力呈献高质的电影节目、发掘亚洲及中国电影的新领域、为香港电影举办各种讲座并出版有口皆碑的书刊,皆为协会带来独特崇高的国际声望,有助于本地及国际上推广香港电影。 传媒查询: 香港国际电影节协会 (HKIFFS) 麦慧欣 (Polly MAK) 张冰力 (Lizzie ZHANG) 电话:+852-2102-7380 | 6771-5476 电话:+852-2102-7381 | 5545-3639 电邮:polly_mak@hkiff.org.hk 电邮:lizzie_zhang@hkiff.org.hk 慕亚有限公司 (Isentia) 陈婷婷 (Giselle CHAN) 文馨桦 (Eva Man) 电话:+852-3987-8132 | 6222-3036 电话:+852-3987-8131 | 9060-3070 电邮:giselle.chan@isentia.com 电邮:eva.man@isentia.com
2017-03-21JULY 11, 2017, HONG KONG: More than 300 delegates from around the world attended the China Daily Asia Leadership Roundtable panel on “The Prospects of the East Asian Market In the New Global Economy” today at Hong Kong Summit. China Daily is delighted to work with The Chinese General Chamber of Commerce this year and hold a co-branded session as the only session strategic partner. As Asia emerges as the new locomotive for global economic growth, deepening regional cooperation has become a key strategy for development in many countries. Ministers, leaders and experts from the industrial and business sectors in Hong Kong and overseas will gather at the Hong Kong Summit to exchange ideas on a wide range of issues, including sustainable economic development in East Asia and Hong Kong’s role in regional cooperation. China Daily is delighted to have had 6 distinguished speakers: Dr. David DENG, General Manager of Capital Investment & Management Department, China Merchants Group Limited; Mr. Patrick IP, Managing Director, China-ASEAN Investment Cooperation Fund; Prof. KRIENGSAK Chareonwongsak, President, Institute of Future Studies for Development; Mr. LEE Heng Guie, Executive Director of Socio-Economic Research Center, The Associated Chinese Chambers of Commerce and Industry of Malaysia; Mr. Lincoln LEONG, Chief Executive Officer, MTR Corporation Limited and Mr. LIN Jingzhen, Deputy Chief Executive, Bank of China (Hong Kong) Limited. They reviewed the opportunities and challenges for the region’s financial markets, Hong Kong’s advantages in financing East Asia’s infrastructural projects, and the interaction between traditional and high-tech industries. Dr. David DENG expressed that China Merchants Group plays a pioneer role in Belt and Road Initiative and created its PPC (port-park-city) model to catch opportunities in the Belt and Road regions. Deng said the flagship of its industry platform is China Merchants Port, which has 49 ports in 19 countries and regions, and CMG’s logistics sector has 96 overseas operating sites in 38 countries and regions worldwide. Mr. Patrick IP said “According to Asian Development Bank, the annual infrastructure spending required in Asia is around US$ 1.7 trillion, I think the government can make up around 20% of the fund required and for private sector 10%,so you can see the investment gap in infrastructure is huge. And infrastructure is essential to a country's GDP.” Prof. KRIENGSAK Chareonwongsak said that even though competiveness of the region is increasing, but it is increasing not as the speed that it should be, because the region has not been properly digitalized. This is a major issue in my assessment in looking at the future of the region. Mr. LEE Heng Guie pointed out that Regional integration is important. The government, institution and central bank need to share information to avoid the next financial crisis. A lesson to learn from the 1997-1998 and 2008-2009 financial crisis is that not just deepen our integration from financial and economic (aspects), but also we need to share information. Mr. Lincoln LEONG stressed that urbanization would be the key driver of infrastructure, retail and education and so on. He also mentioned the connectivity would further enhanced by the Hong Kong-Zhuhai-Macao Bridge and the Express Rail Link, while at that time we could enjoy a trip to Guangzhou within an hour, and around 10 hours to Beijing. He also mentioned that the Hong Kong-based railway operator is eying on projects in Asian countries, like Indonesia, Thailand, India, etc. Mr. LIN Jingzhen highlighted that he believes in the potential economic growth of East Asia as Asia has become the key driver of the global economic growth. Despite East Asia has experienced few financial crises, it will still show its economic significance and Hong Kong can play its role as financial service provider regarding the expected global infrastructure investment to reach $260 million in 2030 and East Asia will contribute more than 60 percent of the total amount. He also pointed out that Hong Kong can attract investment from East Asia as an offshore (RMB) financial centre, as the use of Renminbi became more popular in East Asia while more and more countries start to include yuan in their foreign exchange reserves. -- Ends -- About China Daily Asia Leadership Roundtable China Daily Asia Leadership Roundtable is a by-invitation network of movers and shakers in Asia providing platforms for focused dialogue, issue investigation, and possible collective action on strategic issues relating to economic, business and social development in Asia. Our aim is to enhance communication and increase mutual understanding between China, Asian and Western countries. Roundtable events are held in major cities across Asia. Media Contact: Ms. Cindy Chan Tel: (852) 3465 5431 Email: cindy@chinadailyhk.com
2017-07-11Investment openings in East Asia galore as demand for building projects, housing soars: Experts East Asia offers huge development potential with the rise of the middle-class group, while infrastructure construction presents tremendous business opportunities, industry insiders and experts told a forum themed "The prospects of the East Asian market in the new global economy" in Hong Kong on Tuesday. "Growth in ASEAN (Association of Southeast Asian Nations) is tremendous and GDP growth (of the region) is one of the highest in the world," Patrick Ip, managing director of China-ASEAN Investment Cooperation Fund (CAF), said at the forum organized by China Daily Asia Pacific as part of the Hong Kong Summit. The GDP per capita of the ASEAN countries is also growing at a rapid pace which, in Ip's words, is "catching up with the Western world". However, investments in infrastructure are not able to meet the demand at present, he noted. "According to the Asian Development Bank, annual infrastructure spending required in Asia is around $1.7 trillion. I think governments can make up around 20 percent of the funds needed, and for the private sector, 10 percent. So, you can see there's a huge investment gap in the infrastructure sector." Banking on huge opportunities in ASEAN, CAF has been actively investing in a range of sectors in the region, including shipping and logistics in the Philippines, a port in Thailand and healthcare in Singapore. Slowdown worries Kriengsak Chareonwongsak, president of Thailand's Institute of Future Studies for Development, expressed concern that East Asia's speed of growth will slow down. "Due to the Trump syndrome, Brexit and many other issues all over the world, trade openness has been seen to decrease this year," he said, urging the region to work on trade openness in order to make Asia the new driving force of the world economy. He said the level of trade openness in East Asia was the highest in 2000, contributing 110 percent of GDP (not including China), but the percentage had dropped to 85 percent in 2015. "Competitiveness in the region is on the rise, but it's increasing not at the speed it should be because the region has not been properly digitalized," Kriengsak said, adding it's a major issue in his assessment in looking at the region's future. But he has seen some East Asian countries changing the situation by concentrating on developing their own technologies, and scientific papers from the Asian region are increasing. Another opportunity he found is that East Asia has the fastest growing middle-class group in the world, and their purchasing power could present a new development opportunity. The region's growing middle class would lead to increased demand for infrastructure and housing in those countries, Ip said. Lin Jingzhen, deputy chief executive of Bank of China (Hong Kong) Ltd, agreed that the middle class is growing rapidly in the region, and the demand for family and personal-wealth management is rising accordingly, providing abundant opportunities for Hong Kong enterprises. He expects Hong Kong to play a significant role as a financial services provider in global infrastructure investment, which is expected to reach $26 trillion by 2030, with East Asia contributing more than 60 percent of the amount. Sound model needed David Deng, general manager of the Capital Investment and Management Department of China Merchants Group Ltd (CMG), believes that developing a sound investment model is vital for enterprises to explore overseas markets, especially in Belt and Road (B&R) projects. CMG - a State-owned conglomerate based in Hong Kong - has created a port-park-city (PPC) model, which addresses the financial implications of the B&R Initiative, he said. By late last year, CMG's overseas assets had reached 591.2 billion yuan ($87 billion), accounting for 8.6 percent of its total assets. The company is conducting business in six continents, involving ports, shipping, logistics, financing and trade. Lincoln Leong, chief executive officer of Hong Kong's MTR Corporation Ltd, stressed that international and inter-regional connectivity offers significant opportunities. Besides Hong Kong, MTR Corporation operates on the Chinese mainland and in the United Kingdom, Sweden and Australia. "The population we carry outside Hong Kong is the same as the number here (Hong Kong)," he said. Lee Heng Guie, executive director of the Socio-Economic Research Centre of the Associated Chinese Chamber of Commerce and Industry of Malaysia, said although East Asia's economic growth has rebounded this year, thanks to a synchronized global recovery, a number of challenges still confront economies in the region. He said globalization is showing a reverse trend, with new trade restrictions emerging, as well as persistent policy uncertainties, monetary policy tightening and other factors that require policymakers to take measures to ensure stronger and sustainable growth under the new economic normal. Although integration of countries in the region is deepening, considerable regulatory and other barriers still exist, hampering the process, Lee warned, adding that the pace of financial integration has lagged behind trade integration. Stressing the importance of regional integration, he said "information sharing" is also essential for healthy economic growth. "Governments, institutions and central banks need to share information to avoid another financial crisis. A lesson from the 1997-1998 and 2008-2009 financial crises is that (we need to) not only deepen our integration from the financial and economic (aspects), but also share information." grace@chinadailyhk.com
2017-07-112017年7月11日香港 - 中國日報今日假香港會議展覽中心舉辦了「企業家學者剖析區域經濟機遇和挑戰 新經濟格局下的東亞市場發展前景」論壇。六位商界精英和學者與逾300位參會者展開了分析與對話。 應香港中華總商會邀請,中國日報承辦了“香港高峰論壇”的該分論壇。 本次論壇是由中國日報與香港中華總商會首次合作,中國日報也是唯一的分論壇策略夥伴。論壇以「香港與東亞區域合作:創新思維 迎新機遇」為題,從宏觀角度出發,以嶄新思維,探討環球經濟新形勢發展,特別是「一帶一路」倡議和「東盟經濟共同體」的成立對促進東亞自由貿易與區域整合發展帶來的挑戰與啟示,洞悉箇中商機。在創新產業、數碼經濟等經濟發展新領域,探索東亞市場發展新空間。 中國日報邀請到招商局集團資本運營部部長鄧偉棟博士、中國-東盟投資合作基金董事總經理葉家強先生、泰國未來發展研究所總裁克令薩‧夏理汪賽教授、馬來西亞中華總商會社會經濟研究中心執行董事李興裕先生、香港鐵路有限公司行政總裁梁國權先生,及中國銀行(香港)有限公司副總裁林景臻先生等六位國內外專家,分析本地區金融市場的機遇與挑戰,香港在與東亞基建工程融資之優勢,以及傳統與高科技產業之間互動及未來機遇。 招商局集團資本運營部部長鄧偉棟博士指出,招商局集團在「一帶一路」倡議中扮演先鋒角色,並創造「前港-中區-後城」模式,力求在「一帶一路」域內把握機遇。鄧博士還說,招商局集團在業界擁有旗艦地位,在19個國家和地區擁有49個港口,在全球38個國家和地區擁有96個自營網點。 中國-東盟投資合作基金董事總經理葉家強先生表示:「根據亞洲開發銀行的數據,亞洲每年所需的基礎建設資金達到1.7萬億美元,其中,我覺得政府只能提供20%,而私營領域最多提供10%所需資金。所以亞洲對於基礎建設投資資金的需求是巨大的,而一個國家的基礎設施建設對這個國家的GDP增長有巨大的作用。」 泰國未來發展研究所總裁克令薩‧夏理汪賽教授強調,儘管我們的競爭力不斷增強,但是這遠遠不夠,因為域內並未完全實現數字化。在我看來,這是區內各地將面臨的主要問題。 馬來西亞中華總商會社會經濟研究中心執行董事李興裕先生認為區域合作很重要。政府、機構和中央銀行應共享信息,避免金融危機再次爆發。我們需要從1997-1998和2008-2009年金融危機中吸取的教訓是,各經濟體不僅需要進行經濟和金融融合,而且需要信息共享。 香港鐵路有限公司行政總裁梁國權先生指出,城市化的發展將對基礎設施建設、零售業、教育等行業產生重要影響。他說,隨著港珠澳大橋和廣深港高速鐵路的建成,域內「一小時生活圈」的願景將得以實現,香港與北京的單程陸路通勤時間也將縮減到10小時以內。 他續指,港鐵公司將繼續著眼在亞太地區鋪開項目,加大在相關區域的投資,包括印度尼西亞、印度、泰國等國家。 中國銀行(香港)有限公司副總裁林景臻先生表示環球經濟重心已經轉向亞洲,成為世界經濟增長的火車頭。盡管東亞地區在20多年間經曆了多次的金融危機,但仍可以發揮重要作用。到2030年,亞洲基礎設施建設投資需求將超過26萬億美元,其中超過60%的需求來自東亞地區。香港的金融服務可以發揮相應作用。人民幣在東亞地區的使用率也在不斷提高,越來越多的國家把人民幣納入官方外匯儲備。作為人民幣離岸中心,香港可以吸引更多的東南亞投資。 香港中華總商會創建於1900年,擁有六千多家企業會員,是香港最大的商會。 中國日報社擁有報紙、網站、移動客戶端、臉譜、推特、微博、微信、電子報等十餘種媒介平臺,全媒體用戶總數累計約6100萬;紙媒發行量90萬份,其中9個海外版發行60萬份;網站日均訪問量(PV)5200萬,全球移動客戶端用戶達820萬;海外供版的《中國觀察報》(China Watch)直達美國《華爾街日報》和《華盛頓郵報》、英國《每日電訊報》、法國《費加羅報》、《俄羅斯報》、日本《每日新聞》、泰國《民族報》、阿根廷UNO報業集團等美、歐、亞主流讀者群,期均發行500餘萬份。 「中國日報亞洲領袖圓桌論壇」旨在搭建一個由亞洲國家和地區的政、商、學界領袖和社會精英參與的高端對話和交流平台,圍繞亞洲地區經濟、商業、產業和社會發展等具有戰略影響的重要議題展開討論,至今在港澳和亞太多個國家和地區已舉辦了超過50 屆,逾2 萬名決策精英參加。請瀏覽www.cdroundtable.com了解更多關於「中國日報亞洲領袖圓桌論壇」的信息。 ——完—— 媒體垂詢: 陳小姐 電話:(852) 3465 5431 電郵:cindy@chinadailyhk.com
2017-07-11Making its first investment in the ASEAN (Association of Southeast Asian Nations) member states in 2010, quasi-sovereign equity fund China-ASEAN Investment Cooperation Fund (CAF) has taken the lead under the China-led Belt and Road (B&R) Initiative, striking a balance between profit-making and promoting infrastructure development in the 10-member regional grouping. The first tranche of CAF's $1-billion investment pool has been plowed into 10 ASEAN projects that are mainly engaged in infrastructure, energy and natural resources. "We've been investing in the Philippines' largest shipping and logistics company, the largest port in Thailand and the largest telecommunication infrastructure providers in Cambodia and Myanmar. We've also invested in the fast growing healthcare sector in Singapore," CAF Managing Director Patrick Ip told the Hong Kong Summit forum on Tuesday. He said there are great investment opportunities in the ASEAN countries, given the asymmetry between its strong growth and the huge investment gap. Citing figures from the Asian Development Bank, Ip said infrastructure in Asia requires an annual spending of about $1.7 trillion. He estimated that governments can contribute 20 percent of the funds required, while the private sector can pump in 10 percent. The investment gap infrastructure is huge, he noted. CAF, sponsored by the Chinese mainland's Export-Import Bank of China, is currently fundraising for the second tranche, and the exercise is expected to be completed in the fourth quarter of this year, with a target of raising $1 billion to $3 billion. The US dollar-denominated offshore fund has seen six of its 10 investment projects successfully exited, recording a double-digit returns rate. According to Ip, an initial public offering is not their first choice under the exiting strategy, "Take the Philippines as an example, the daily transaction volume of their stock exchange is around $200 million - just a fraction of that of the Hong Kong stock market," he said, adding that it's difficult for investee companies to go public. However, Ip stressed that pursuing high returns is not their ultimate goal, and their investment philosophy is to help potential companies grow. When CAF invested in the Philippines' largest shipping and logistics company several years ago, the earnings before interest, tax, depreciation and amortization (EBITDA) was low, but the figure has improved significantly in recent years, Ip said. Apart from providing financing, the fund also assisted the Philippine company to improve and grow as part of its value-added post investment strategy. Compared to other funds, Ip said CAF is more risk-averse. The gesture of investing in investee companies serves as credit enhancement which gives them more leverage in further fund-raising. The fund can also help them tap into the mainland market with the fund's extensive resources - perks that other funds might not have. After a seven-year thrust into ASEAN, Ip said risks like geopolitical disputes could impose challenges for Chinese mainland investors. He's glad to see that strategic projects like the B&R Initiative can largely mitigate tension. Building trust between China and ASEAN countries is important for Chinese investment, he said. evelynyu@chinadailyhk.com
2017-07-11Thanks to our friends at the China Daily Hong Kong for inviting us to their Roundtable Summit on “Sino-Foreign Co-produced Films Summit” at FILMART last week! We wanted to share a bit of coverage from he event for those who couldn't make it. - Film industry elite gather for China Daily Film Summit To Define Sino-Foreign Film “Co-Production 3.0 Era” MARCH 16, 2017, HONG KONG: More than 250 delegates from the movie industry around the world attended the China Daily Asia Leadership Roundtable Panel on “Sino-Foreign Co-produced Films Summit” from 10:30am to 12:30pm at FILMART. We are delighted to work with Hong Kong Trade Development Council again as Media Partner for FILMART 2017 for the fifth consecutive year. Sino-Foreign co-productions had bolstered China’s box office more than three-fold between 2010 and 2016. Last year alone, 8 out of 10 top-grossing films on the Chinese mainland were co-productions, including “The Mermaid”, which netted more than 3.3 billion yuan (US$480 million). Recent notable co-productions included “The Great Wall” and “Kung Fu Yoga”. China has co-production agreements with more than 13 countries and regions so far, and the number is rising. As the nation’s movie industry continues to grow rapidly on the back of collaboration in capital, content, talent and distribution, the role of Sino-Foreign co-productions in the global film market calls for a deep analysis. Mr. Raymond YIP, Deputy Executive Director of Hong Kong Trade Development Council welcomed the distinguished speakers from across Asia by pointing out that with the passing of the “Film Industry Promotion Law” by the Standing Committee of the National People’s Congress last November, it indicates China’s intense focus on the development of a vibrant and structured local film industry. The steady growth of the film business on the mainland in the long run will certainly benefit more Sino-Foreign co-productions。 China Daily is delighted to have had ten distinguished speakers including Mr. Teddy CHEN, Famous Hong Kong Film Director; Mr. William FENG, Head of Greater China and Vice-President of Asia Pacific, The Motion Picture Association (MPA); Ms. Amy LIU, Partner, EntGroup; Mr. CT YIP, Executive Director, Media Asia Group Holdings Limited & CEO, Lai Sun Group; Mr. YA Ning, Senior Vice-President, iQIYI and CEO, iQIYI Motion Pictures; Mr. CHEN Yiqi, Chairman, Sil-Metropole Organisation Ltd; Ms. Ann AN, Chairman, Desen International Media; Mr. Dagan POTTER, Production Lead, Oriental Dreamworks; Mr. William PFEIFFER, Executive Chairman & Co-Founder, Globalgate Entertainment and Dr. MA Runsheng, Former President, China Radio, Film and Television Program Exchange Center & Vice President, China Television Drama Production Industry Association. They analyzed the opportunities and challenges for China’s movie business in the coming years, and how industry players can make the most out of such co-operation in the “co-production 3.0 era”. Mr. Teddy CHEN shared his view on the topic, “today there's no such thing as a pure Mainland film, Hong Kong film or Taiwan film. They have integrated with one another already.” Mr. William FENG mentioned that China's cooperation with the western in film making will be more and more, not only through co-production but also by general cooperation based on local production. For Chinese films to go out, we need to improve our story telling skills to allow the world to understand Chinese stories. Ms. Amy LIU expressed that the development potential for China's co-production film market is huge as the number of Chinese people's average times on watching films is still quite low currently, despite the rapid sales growth in box office in Chinese mainland. Mr. CT YIP pointed out that Film industry in Chinese mainland has been developing fast, especially including the development of internet ticketing and distribution platforms. And films are the crystallisation of humans' thoughts and creation, so people in the industry need to keep learning, observing and changing to meet the challenges. Mr. YA Ning stressed that It takes time for us to figure out how to promote the Chinese films to the US and overseas markets and to adapt our productions to suit overseas audience's viewing habits. Mr. CHEN Yiqi said diversity of co-production should be explored and encouraged. China can invest in US films and the other way around, and US filmmakers can also remake Chinese films and vice versa. Ms. Ann AN highlighted that mastery of Hollywood's production skills and camera language is one of the preconditions to successfully export Chinese culture. Mr. Dagan POTTER said that we had a distinctive advantage of having a China-based crew, as well as Los Angeles-based crew. The collaboration between these two groups could bring unique ideas and visions to our process. Mr. William PFEIFFER expressed that the lines will be more blurry when it comes to co-production. Globalization is inevitable and technology is key to solve problems in co-production. Someday, actors will be able speak their language and the translated words just come out. Dr. MA Runsheng stressed that Sino-foreign co-produced film is a great attempt for Chinese culture to go out and international advanced culture to enter China, but great co-production piece has not born yet. This is the current reality. -- Ends – Co-organized with the Hong Kong Trade Development Council for the fifth consecutive year, China Daily Asia Leadership Roundtable held a panel at FILMART on “Sino-Foreign Co-produced Films Summit” on March 16. Delegates at the summit listening to speakers’ comments on Sino-Foreign Co-produced Films. Distinguished speakers analyzing the opportunities and challenges for China’s movie business in the coming years, and how industry players can make the most out of such co-operation in the “co-production 3.0 era”. About China Daily Asia Leadership Roundtable China Daily Asia Leadership Roundtable is a by-invitation network of movers and shakers in Asia providing platforms for focused dialogue, issue investigation, and possible collective action on strategic issues relating to economic, business and social development in Asia. Our aim is to enhance communication and increase mutual understanding between China, Asian and Western countries. Roundtable events are held in major cities across Asia. Source:http://http://www.alivenotdead.com/alivenotdead/filmart-china-daily-roundtable-summit-coverage
2017-03-22(2017年3月22日,香港) 由亞洲電影大獎學院主辦、創意香港及電影發展基金資助的第十一屆亞洲電影大獎,已於昨日(3月21日)假香港文化中心隆重舉行,圓滿結束。來自世界各地多個地區的入圍者及亞洲電影工業的幕前幕後精英,都盛裝出席並賀亞洲電影大獎十一週年。 本年度的得獎者於昨晚逐一揭曉,最佳電影是由馮小剛執導的《我不是潘金蓮》(中國大陸);最佳導演是《哭聲》(南韓)的羅泓軫;淺野忠信憑《奏不響的風琴》(日本)成為最佳男主角,他於年憑《身後戀事》(法國,日本)獲得最佳男配角,連續兩年在亞洲電影大獎獲得殊榮;而最佳女主角則由范冰冰憑《我不是潘金蓮》(中國大陸)奪得;林雪憑《樹大招風》(香港)成為最佳男配角;《下女誘罪》(南韓)的兩位女演員文素利和金泰璃,分別獲得最佳女配角和最佳新演員。 技術獎項方面,最佳編劇是《伊朗式遷居》(伊朗,法國)的阿斯加法哈迪;最佳剪接是《身後仕》(新加坡,德國,法國,香港,卡塔爾)的利查泰米提古和蘇智韻;最佳攝影是《我不是潘金蓮》(中國大陸)的羅攀;最佳原創音樂由《密探》(南韓)的MOWG;最佳造型設計是《下女誘罪》(南韓)的趙常景;最佳美術指導由《下女誘罪》(南韓)的柳成熙奪得;最佳視覺效果則是《真.哥斯拉》(日本)的大屋哲男;最佳音響是《長江圖》(中國大陸)的房濤和郝智禹。 香港著名電影人徐克榮獲頒「終身成就獎」,以表揚他在藝術、文化和商業成就方面對亞洲影壇作出的非凡貢獻和深遠影響;香港演員及歌手鄭秀文獲頒「卓越亞洲電影人大獎」,對其推動亞洲電影的卓越成就和貢獻予以肯定;憑《美人魚》獲得最佳新演員提名的中國新星林允,則獲頒「亞洲飛躍演員大獎」,以表彰她在亞洲電影工作上出色成就和非凡突破。 今年共有34部來自12個地區及國家的作品,入圍73項提名,角逐15個獎項。當中南韓導演朴贊郁的話題電影《下女誘罪》橫掃六項提名,最後囊括四獎,包括最佳女配角、最佳新演員、最佳造型設計、最佳美術指導;而由馮小剛執導、獲得五項提名的《我不是潘金蓮》,則奪得了三個大獎,包括最佳電影、最佳女主角和最佳攝影。 亞洲電影大獎 一年一度的亞洲電影大獎於2007年創辦,旨在表揚傑出的亞洲電影作品和人才,並展示亞洲電影界的多元文化和活力。頒獎典禮當晚,區內電影界台前幕後的精英聚首一堂,共同嘉獎該年度成績卓越的電影作品和電影工作者,吸引世界各地媒體出席及報導當晚盛況。 亞洲電影大獎在香港舉行了首七屆頒獎典禮,2014年移師至亞洲娛樂樞紐澳門,並計劃在未來繼續巡迴到亞洲不同地區舉行,彰顯大獎在區內的廣泛代表性。 亞洲電影大獎學院 亞洲電影大獎學院於2013年由亞洲三大國際電影節,即香港、釜山及東京國際電影節共同創立,學院的宗旨是推廣及促進亞洲電影、培育區內電影人才、以及拓展電影觀眾群。學院藉著舉辦一年一度的亞洲電影大獎及全年多元化的各類活動,從而凸顯、加強及建立越趨蓬勃的亞洲電影業及其多變的電影文化。 學院會員大多為歷屆亞洲電影大獎的入圍者和得獎者,他們在每屆亞洲電影大獎中均擁有投票權,亦可優先參與學院於亞洲及以外地區所舉辦的各類活動。 自2015年起,學院推出一系列的推廣及交流活動,包括大師班、學生觀摩團、電影專才海外實習計劃及巡迴放映,旨在向亞洲及以外的電影工作者、學生團體及廣羅大眾等,介紹亞洲電影工業及文化,促進區內電影業的互動和發展。 亞洲電影大獎學院的成立印證了亞洲電影在國際間的創造力和影響力正在迅速提升。學院將致力聯繫亞洲各地區電影工作者,積極推動亞洲電影文化發展。 創意香港 創意香港是香港特別行政區政府商務及經濟發展局其下一個專責辦公室,於二零零九年六月一日成立,重點工作是去牽頭、倡導和推動本港創意經濟的發展。創意香港統籌政府在創意產業方面的政策和工作;把政府用作推動和加快香港創意產業發展的資源集中起來;並與業界緊密合作,推動創意產業的發展。如欲了解更多有關創意香港的資料,請瀏覽http://www.createhk.gov.hk/。 香港電影發展基金 香港特別行政區政府於1999年成立電影發展基金,為有利香港電影業發展的項目和活動在財政方面提供支持,包括為中低成本的電影製作提供部分融資;加強在內地和海外推廣香港電影;加強在電影製作和發行各方面培訓人才的措施;及提高本地觀眾對香港電影的興趣和欣賞能力。如欲了解更多有關電影發展基金的資料,請瀏覽http://www.fdc.gov.hk/tc/services/services2.htm。
2017-03-22(March 22, 2017, Hong Kong) Organized by the Asian Film Awards Academy (AFA Academy) with the financial support of Create Hong Kong and Hong Kong Film Development Fund, the 11th Asian Film Awards (AFA) was held yesterday on March 21, 2017 (Tuesday) at the Hong Kong Cultural Centre. The final winners were announced last night on the ceremony - Best Film goes to I Am Not Madame Bovary (Mainland China) directed by FENG Xiaogang; Best Director is NA Hong-jin for The Wailing (South Korean); Japanese actor ASANO Tadanobu wins Best Actor for his role in Harmonium (Japan). ASANO has also won the Best Supporting Actor award last year for Journey to the Shore (France, Japan); Best Actress is Chinese actress FAN Bingbing for her role in I Am Not Madame Bovary (Mainland China); Best Supporting Actor goes to Hong Kong actor LAM Suet for his role in Trivisa (Hong Kong); South Korean actresses MOON So-ri & KIM Tae-ri are named Best Supporting Actress & Best Newcomer respectively, for their roles in The Handmaiden (South Korea). Technical awards winners are: Best Screenplay: Asghar FARHADI, The Salesman (Iran, France); Best Editing: Lee CHATAMETIKOOL & Natalie SOH, Apprentice (Singapore, Germany, France, Hong Kong, Qatar); Best Cinematography: LUO Pan, I Am Not Madame Bovary (Mainland China); Best Original Music: MOWG, The Age of Shadows (South Korea); Best Costume Design: CHO Sang-kyung, The Handmaiden (South Korea); Best Production Design: RYU Seong-hie, The Handmaiden (South Korea); Best Visual Effects: OHYA Tetsuo, Shin Godzilla (Japan); and Best Sound: FANG Tao & HAO Zhiyu, Crosscurrent (Mainland China). Hong Kong filmmaker TSUI Hark accepted the Lifetime Achievement Award, as a recognition of his fundamental achievements and a lasting impact of outstanding artistic, cultural and commercial significance in Asian cinema. Hong Kong actress-singer Sammi CHENG Sau-man accepted the Excellence in Asian Cinema Award, as a recognition of her distinguished talents and affirmation of her achievements and contributions to Asian film industry and culture. Chinese young actress Jelly LIN, who is nominated as Best Newcomer for her leading role in Mermaid, received the Rising Star of Asia Award for her exceptional talent and breakthrough in Asian cinema in the past year. This year, 73 nominees of 34 films from 12 countries competed for the final Asian Film Awards in 15 categories. South Korean film The Handmaiden, directed by PARK Chan-wook, has won four awards out of six nominations, including Best Supporting Actress, Best Newcomer, Best Costume Design and Best Production Design. FENG Xiaogang’s I Am Not Madame Bovary, has won three out of five nominations, including Best Film, Best Actress and Best Cinematography. Asian Film Awards (AFA) Inaugurated in 2007, the Asian Film Awards celebrates excellence in Asian cinema through the annual presentation of awards to talents and films that make up the dynamic film industries of Asia. Awards night is a spectacular gathering of stars, celebrities, industry professionals and the media that highlights and publicizes the year’s achievements in Asian movies. Presented in Hong Kong in its first seven years, the Awards moved to one of Asia’s fastest growing entertainment hubs, Macau, in 2014 – one step closer to its long-term plan of being held in different Asian cities to reflect its broad reach across the entire region. Asian Film Awards Academy (AFAA) In 2013, three main Asian film festivals – Busan, Hong Kong and Tokyo – joined together to create the non-profit organization, the Asian Film Awards Academy to promote and develop Asian cinema and its talents. The AFA Academy highlights, strengthens and develops Asian film industry and culture through the annual Asian Film Awards, and several year-round initiatives including strategies for building regional and international audiences. Members of the AFA Academy are drawn from all past nominees and winners of the Asian Film Awards. Members vote for the Asian Film Awards and also participate in various AFA Academy activities involving film professionals and audiences in Asia and around the world. In 2015, the AFA Academy launched events and activities including the Masterclass Series, Journey to the Fest, Asian Cinerama and Young Film Professionals Program to promote, educate, inform and develop knowledge, skills and interest in Asian cinema among the industry, students and audiences in Asia and beyond. The AFA Academy expresses the increasing global importance and creative strengths of Asian films and aims to unite the industries and talents of the fast-growing region. Create Hong Kong Create Hong Kong is a dedicated office set up under the Commerce and Economic Development Bureau of the Government of the Hong Kong Special Administrative Region on 1 June 2009 to lead, champion and drive the development of the creative economy in Hong Kong. It co-ordinates Government policy and effort regarding creative industries, focuses Government resources for the promotion and speeding up of the development of creative industries in Hong Kong, and works closely with the trade to boost the development of creative industries. For more details, visit www.createhk.gov.hk/. The Hong Kong Film Development Fund The Hong Kong Film Development Fund was first set up by the Government of the Hong Kong Special Administrative Region in 1999 to fund projects and activities which contribute towards the development of the Hong Kong film industry, including part-financing small-to-medium budget film productions; enhancing efforts to promote Hong Kong films in the Mainland and overseas; enhancing initiatives to train talents in various aspects of film production and distribution; and enhancing the interest and appreciation of Hong Kong films by the local audience. For more details, visit www.fdc.gov.hk/tc/services/services2.htm.
2017-03-22The potential of Sino-foreign co-productions to dominate the film industry is enormous, says Teddy Chen, director of Bodyguards and Assassins which scooped eight awards at the 29th Hong Kong Film Awards in 2009. Upbeat about the prospect of co-productions, Chen also expects to see diverse forms of cooperation between filmmakers, investors and film producers at home and abroad. China enjoys a wealth of unique advantages in making films which foreign filmmakers can harness, and vice versa, Chen pointed out. Utilizing the unique strengths from each side could lead to a maximization of benefits for the co-produced films, he added. China’s rich history and exceptional ethnic culture provides an unlimited source of inspiration for filmmakers. The storyline of Chen’s Bodyguards and Assassins which took 290 million at the Chinese box office was based on the Xinhai Revolution of 1911. “Some plots in the film were original while some were fictional, but I made sure they were faithful to the historical truths,” added Chen. China’s vast land and abundant natural landscapes make for ideal film shooting locations. Chen attributed the success of his film Bodyguards and Assassins largely to its elaborate sets, replicating Hong Kong’s Central district in the 1900s. The sets, however, were set up in the western suburb of Shanghai. A co-production, especially if it’s an action film, can hardly be a success without using sophisticated shooting and post-production technologies that overseas filmmakers are good at, noted Chen. “We have a pool of martial arts actors, but what we lack are the technologies that can add special effects to the action. Foreign technologies allow us to bring more spectacular stunts to the screen, saving our actors from risking their lives doing dangerous stunts,” he said. Chen is earnestly concerned about the quality of co-productions. Referring to the spate of co-produced films released in recent years, Chen said, only a fraction of these has left a lasting impression on the audience. “There are no stories in those films, no real substance there,” he remarked. He also noted that a co-production was not simply about putting together crew members from different nationalities, it was essentially about finding a point of “conflict” which could serve as the pivot of the story. A similar sentiment was echoed by Chen Yiqi, chairman of Sil-Metropole Organization. He noted that co-operations in filmmaking may not be confined to engaging people from different countries or regions in a project. “Chinese companies invest in US films, Chinese directors direct US-invested films, US filmmakers reproduce Chinese films — all of which count as cooperation.” Source: http://www.chinadailyasia.com/2017-03/17/content_15587286.html
2017-03-21Of the 10 highest grossing movies on the Chinese mainland last year, eight were coproductions with other regions.For China, joint productions are widely seen as a way to draw upon talent, technology, and help in telling the China story. For the West, those same joint productions are a means of tapping a market of 1.3 billion people — the film industry’s second-largest market by box office receipts. But as collaboration grows between Hollywood and China, what are the opportunities and what are the challenges? Coproduced movies are paving the future of the film industry, said Zhou Li, publisher and editor-in-chief at China Daily Asia Pacific and editorial board member of China Daily Group. He was speaking on March 16 at the Sino-Foreign Coproduced Films Summit, a China Daily Asia Leadership Roundtable which brought together filmmakers, producers and industry investors and was held during the Hong Kong International Film & TV Market (Filmart) at the Hong Kong Convention and Exhibition Centre. Last year, joint Chinese mainland and Hong Kong comedy The Mermaid “became the highest grossing Chinese film of all time”, Zhou said. Yet the Sino-Hollywood action-fantasy movie The Great Wall found itself unable to claw back either profits or plaudits. “China has already entered coproduction with 14 countries and regions,” said Zhou. “It seems to me (that) when these cultures join forces, it is going to be a happy day for cinema.” With Filmart hosting over 800 exhibitors from more than 30 regions, it is evident how important the market for movies has become in China, said Raymond Yip, deputy executive director of the Hong Kong Trade Development Council. “Among those 800 exhibitors, we have 200 from the Chinese mainland,” he said. Chen Yiqi, chairman of Hong Kong film production and distribution corporation Sil-Metropole Organisation, said Chinese films must play catch-up, simply because the United States has been making films for so long and its technology is more advanced. One way is for Hong Kong to act as the bridge for China and the West to collaborate. For Teddy Chen, a Hong Kong film director known for the likes of 2009’s award-winning Bodyguards and Assassins, such coproduction is nothing new. His first joint work was in the early 2000s, and he believes that ties since then between the Chinese mainland, Hong Kong and Taiwan have reached a point of total integration. “(At first) I had to think about how I should divide characters between Hong Kong and mainland actors,” the director said. “Eventually I realized it didn’t matter, so long as audiences like it.” Entertainment research service, marketing and investment firm EntGroup is one example of the new wave of multi-area companies investing heavily in the entertainment industry. For Amy Liu, a partner at the company, “the opportunities are great, the investments large, but the returns are rarely what are expected”. Compared to last year, for example, more coproductions have been proposed, and more developed, yet fewer have actually made it onto screens, she said. Some of this is down to censorship. In other cases it is due to financial problems or cultural issues. For film producer and distributor Ann An, chairman of Desen International Media, these are the sorts of headaches that can mean the collapse of deals. An has worked successfully with many Hong Kong and Taiwan companies, but attempts to team up with European and US companies have been far less successful. Joint financing is one issue. American coproducers want to work with the Hollywood model and costs are simply too high for the Chinese side. An cited one coproduction she backed out of for that reason. “There are few successes in coproductions. Many incur losses because we do not understand Hollywood. We think we’re investing a lot (of money) but to Hollywood it’s just peanuts,” she said. Ya Ning, senior vice-president of iQIYI, an online video platform that also produces its own television shows and movies, made the point that while Chinese audiences are “very accustomed to watching American movies”, American audiences do not like watching Chinese movies with subtitles. And they refuse to watch them dubbed. “I think we might do better with cartoons,” Ya said. Indeed, animated hits have figured among the few highly successful coproductions. One case study is Kung Fu Panda 3, made by a team of American and Chinese designers, scriptwriters and actors. Dagan Potter is production lead for Oriental Dreamworks, the Shanghai-based department of the wider Dreamworks company, which made Kung Fu Panda 3. For him, the film’s success (its China box office was more than US$149 million) was in the investment of time and effort to make sure things rang true. “If we’re a bit off in architecture or a garment, it won’t be noticed in Europe,” he said. “But it will be noticed in China.” In collaborative work, cultural similarities, not differences, must be looked for, Potter explained. Panelist William Pfeiffer concurred. By relying on underlying themes and emotions rather than specifics, as well as “a good story and the right elements in it, (a film) can go around the world”, he said. Pfeiffer’s company Globalgate Entertainment takes intellectual property, scripts and ideas from partner movie companies and helps remake or sell them in other markets. He helped produce the Oscar winning film Crouching Tiger, Hidden Dragon, which he said “was more successful in the US than China, because (China) hadn’t evolved to where it is today”. One reason was that the script, though written by Chinese, had its structure worked on by American screenwriters. Another famous Hong Kong movie, Infernal Affairs, was also tightened by foreign screenwriters. It was sold and remade in America as The Departed, which won four Oscars, including for best adapted screenplay. “These things are not unusual anymore,” said Pfeiffer. “Globalization is an inevitable factor, and a positive factor, in the entertainment industry.” CT Yip, executive director of Media Asia Group Holdings, agreed. “If you look at other markets, like mobile phones, mainland Chinese buyers don’t care about whether it’s made in the US,” he said. William Feng, head of Greater China and vice-president of Asia Pacific for the Motion Picture Association, said that in the past eight years, film takings in China have almost doubled, but in the US they have fallen some 3 percent. When it comes to coproductions, success in China does not enamor American audiences. The Great Wall had an all-star Chinese and American cast and made about US$170 million in China. It took less than US$20 million in the US. “The Great Wall is a lesson for everybody,” said Feng. “But the market desperately needs more like this.” Source: http://www.chinadailyasia.com/2017-03/20/content_15588479.html
2017-03-21Cliched as it may sound, the aphorism “Content is king” emerged as one of the major takeaways from the China Daily-hosted Asia Leadership Roundtable on the theme of Sino-foreign co-productions held at the Hong Kong International Film and TV Market (FILMART) on Thursday. The panelists reiterated that while sharing of technology and skills are the two major thrust areas when it comes to co-productions, at the end of the day the key to their success lies in being able to tell a story that resonates across a wide swathe of audiences transcending national, and cultural, boundaries. The mood was upbeat at the panel discussion featuring eminent industry stalwarts — an illustrious film director, leaders of big-time film production companies, heavyweight producers of radio and television programs, among others. Indeed it was a moment worth celebrating the spectacular box-office takings of Chinese-foreign co-productions of the past year, as indeed it was of charting out a roadmap for the future. Editorial board member of China Daily Group and publisher and editor-in-chief at China Daily Asia Pacific Zhou Li remarked in his opening speech, 2016 has been a tremendous year for co-produced Chinese films, with Stephen Chow’s The Mermaid taking US$553.8 million at the box office, which makes it the highest-grossing Chinese film of all time. The film, a co-production between studios in the Chinese mainland and Hong Kong’s own Alibaba Pictures, has beaten the much-touted Hollywood mega project, the Zhang Yimou-directed The Great Wall, which despite having a star like Matt Damon in the lead, raked in only US$320 million. Telling tales Evidently, there was no sure-shot magic formula to tackle the unpredictable nature of box-office success — no fool-proof approach to arriving at cinema that might resonate across cultures, even when such experiments use actors, locations and stories that audiences from diverse backgrounds might identify with, as the Chinese audience’s lukewarm response to The Great Wall proves. However, the panelists almost unequivocally agreed that there was nothing to beat a good story, although sometimes it might take a bit of tweaking to appeal to an audience unfamiliar with the ethno-cultural references in the original. For instance, William Pfeiffer, executive chairman and co-founder of Globalgate Entertainment, drew attention to the very-successful run the Hong Kong-made film, Internal Affairs (2002) had enjoyed in its Hollywood avatar. “The story was so good that it was sold (to Warner Brothers) and remade as The Departed (2006) by Martin Scorsese and won the best picture Oscar.” Responding to producers such as Ann An, chairperson, Desen International Media, and Ya Ning, CEO, iQIYI Motion Pictures — who shared their experiences of dealing with the challenges of collaborating with overseas partners who did not speak the same language — Pfeiffer said, in 20 to 30 years, such constraints would likely be overcome with the aid of advanced technology. That’s when “actors speaking in Chinese might have the words come out in English, in their own voice”, he said. Kung Fu Panda 3, a Chinese-American co-production animation flick which raked in US$521.2 million last year, and finished among the top 10 highest-grossing films in China, is a fine example of working round the obvious limits of ethnicity and language. Here was a film with Hollywood luminary Guillermo del Toro as executive producer, featuring heavyweight stars such as Jack Black, Dustin Hoffman and Angelina Jolie, based on a Chinese story with Chinese sensibilities. Dagan Potter, the production lead at Oriental Dreamworks, revealed how the film’s massive American and Chinese crew, based in their offices in Los Angeles and Shanghai, would “discuss the merits of the film over two to three years”, sharing ideas and visions regarding the project. “If we were going to reinforce reality in fiction, who better than a crew having intimate knowledge of Chinese culture?” he added. He went on to describe how the film, originally made in English, “was re-animated to match the physical movements more natural to dialogues spoken in Mandarin”, for “making a film relatable to the local audience is an idea that we really want to push”. Ma Runsheng, former president of China Radio, Film and Television Program Exchange Center, lamented the diminishing presence of the big Chinese themes in the recent co-production endeavors involving Chinese investment. Emphasizing the cultural particularities that lend cinema its distinctive touch, Ma said, “The elements specific to Chinese culture are where our strengths lie and we should make use of advanced technology (harnessed from the partner country) to tell these great stories.” Source: http://www.chinadailyasia.com/2017-03/17/content_15587271.html
2017-03-21Hong Kong, March 16, 2017 - China Daily co-organized a special panel on “Sino-Foreign Co-produced Films Summit” with the Hong Kong International Film & TV Market (Filmart). Sino-foreign co-productions had bolstered China’s box office more than three-fold between 2010 and 2016. Last year alone, eight out of 10 top-grossing films on the Chinese mainland were co-productions, including “The Mermaid”, which netted more than 3.3 billion yuan (US$480 million). Recent notable co-productions included “The Great Wall” and “Kung Fu Yoga”. China has co-production agreements with more than 13 countries and regions so far, and the number is rising. As the nation’s movie industry continues to grow rapidly on the back of collaboration in capital, content, talent and distribution, the role of Sino-foreign co-productions in the global film market calls for a deep analysis. China Daily is delighted to have had 10 distinguished speakers: Mr. Teddy CHEN, a prominent Hong Kong film director; Mr. William FENG, Head of Greater China and Vice-President of Asia Pacific, The Motion Picture Association (MPA); Ms. Amy LIU, Partner, EntGroup; Mr. CT YIP, Executive Director, Media Asia Group Holdings Limited & CEO, Lai Sun Group; Mr. YA Ning, Senior Vice-President, iQIYI and CEO, iQIYI Motion Pictures; Mr. CHEN Yiqi, Chairman, Sil-Metropole Organisation Ltd; Ms. Ann AN, Chairman, Desen International Media; Mr. Dagan POTTER, Production Lead, Oriental Dreamworks; Mr. William PFEIFFER, Executive Chairman & Co-Founder, Globalgate Entertainment; and Dr. MA Runsheng, Former President, China Radio, Film and Television Program Exchange Center & Vice-President, China Television Drama Production Industry Association. They analyzed the opportunities and challenges for China’s movie business in the coming years and how industry players can make the most out of such co-operation in the “co-production 3.0 era”. Here is the video highlights of the event: https://youtu.be/kHWNCVPtIG8
2017-03-212017年3月21日(香港)— 拉丁美洲电影的悸动激情令人着迷,破格题材和手法常令人耳目一新。第四十一届香港国际电影节特别选映多部拉美电影,不乏国际得奖佳作。 巴西电影人才辈出,小克莱伯.门多萨的《不迁不拆水瓶座》(内地译名《水瓶座》)以音乐和节奏谱写保育女神对抗暴发地产商,入围戛纳电影节竞逐金棕榈奖,更连夺多地电影节最佳电影奖,而以《蜘蛛女之吻》成名的索尼娅.布拉加亦数度获封影后。马赛罗.戈麦斯的《淘金英雄》(内地译名《若阿金》)重塑巴西民族英雄席尔瓦·沙维尔的传奇,暴露殖民地时代的压迫剥削,入围柏林电影节角逐金熊奖。马西路卡坦努(Marcelo CAETANO)的《肌电工情》则藉肉体放电的男男情欲爱恋,以敏感目光捕捉阳光大男孩寻索人生方向。 阿根廷电影新力量亦备受瞩目。加斯顿.杜帕拉特与马里亚诺.寇恩的《玩谢大作家》(内地译名《杰出公民》)写诺贝尔奖作家衣锦还乡的荒诞奇遇,以《无定向丧心病狂》(内地译名《荒蛮故事》)扬名的奥斯卡.马丁内兹更摘下威尼斯影帝殊荣。智利导演帕布罗.拉雷恩以《第一夫人:积琪莲肯尼迪》(内地译名《第一夫人》)进军好莱坞前,亦早以该国诺奖诗人借题发挥,在《流亡诗人聂鲁达》(内地译名《追捕聂鲁达》)创造斗智斗力大追捕,获提名金球奖最佳外语片。卢卡斯连拿(Lukas V. RINNER)则借鉴若松孝二,结合性与革命的主题,在《隔墙有个天体营》(内地译名《得体的女人》)以双面女佣卸下衣裳加入天体俱乐部,讽刺阶级矛盾。 墨西哥影片的威力同样不容忽视。阿玛特.伊斯卡拉特凭《欲望号妖兽》(内地译名《野蛮地区》)一家男女与妖兽交欢满足性欲,以魔幻现实风格大胆袒露社会压抑与人性脆弱,勇夺威尼斯电影节最佳导演奖。露茜亚卡雷拉斯(Lucía CARRERAS)的《天降小娃娃》则是温情小品,透过两个社会边缘的女人照顾女婴重拾人性美善。更有参赛纪录片《假面的自白》、大师新作《无尽诗篇》(内地译名《诗无尽头》)及修复经典《低度发展的回忆》(内地译名《低度开发的回忆》)。节目详情可浏览官方网站www.hkiff.org.hk。 资料及图片下载: FTP: ftp://hkiff.mtel.ws 登入身份: Press 密码: HK1FFPress 资料夹: HKIFF41/Press Releases/20170321 - The Passion of Latin American Cinema – 完 – 香港国际电影节 (HKIFF) 简介 香港国际电影节 (HKIFF) 是亚洲最享负盛名的电影交流平台之一。世界各地的电影业界人士及影迷云集于此,展示新片之余亦欣赏佳作。 电影节是香港最大型的文化活动,每年搜罗来自 50 多个国家,约 250 部作品,在香港 10 多个主要文化场地上映。于过去七年,香港国际电影节曾制作及首映不少著名亚洲得奖导演制作的短片结集,包括许鞍华、黑泽清、贾樟柯、布里兰特·曼多萨、中田秀夫、蔡明亮、阿彼察邦·韦拉斯哈古等。2017 年起,香港国际电影节将与合一影业合作,每年选拔两位华人新秀拍摄剧情长片,并于电影节期间世界首映。 电影节既展示华语电影的多姿多采,亦发掘亚洲影坛新血。影迷不但可观看世界级的电影,更可与顶尖电影人直接对话、参观展览、出席庆祝派对和其他精彩活动。 电影节每年吸引超过 300 个中外媒体报导,持续成为亚洲举足轻重的电影发布及交流平台。 第四十一届香港国际电影节 (HKIFF41) 将于2017年4月11日至25日举行。 香港国际电影节协会简介 香港国际电影节协会 (HKIFFS) 是一个非牟利及非官方的慈善团体,致力发扬电影文化,推广光影艺术。 为发展香港及亚洲的电影文化,协会于每年三、四月期间均举办两项旗舰活动,包括“香港国际电影节 (HKIFF)”及“香港亚洲电影投资会 (HAF)”;八月份举办以年轻观众口味为主的“Cine Fan 夏日国际电影节 (SummerIFF)”。另外协会于2013年4月创办“电影节发烧友 (Cine Fan)”,节目旨于推广丰富多元的电影文化,每月为香港观众带来主流电影以外的精选佳作。 透过全年活动,协会期望加强世界各地对亚洲、香港及中国电影文化的欣赏,并把各地具启发性的电影带到香港,丰富本地精神文化生活。 香港国际电影节协会致力呈献高质的电影节目、发掘亚洲及中国电影的新领域、为香港电影举办各种讲座并出版有口皆碑的书刊,皆为协会带来独特崇高的国际声望,有助于本地及国际上推广香港电影。 传媒查询: 香港国际电影节协会 (HKIFFS) 麦慧欣 (Polly MAK) 张冰力 (Lizzie ZHANG) 电话:+852-2102-7380 | 6771-5476 电话:+852-2102-7381 | 5545-3639 电邮:polly_mak@hkiff.org.hk 电邮:lizzie_zhang@hkiff.org.hk 慕亚有限公司 (Isentia) 陈婷婷 (Giselle CHAN) 文馨桦 (Eva Man) 电话:+852-3987-8132 | 6222-3036 电话:+852-3987-8131 | 9060-3070 电邮:giselle.chan@isentia.com 电邮:eva.man@isentia.com
2017-03-21