//A Cantopop star publicly supported Hong Kong protesters. So Beijing disappeared his music.
By AUGUST BROWN
The 2 million pro-democracy protesters who have flooded the streets of Hong Kong over the last few months have been tear-gassed, beaten by police and arrested arbitrarily. But many of the territory’s most famous cultural figures have yet to speak up for them. Several prominent musicians, actors and celebrities have even sided with the cops and the government in Beijing.
The protesters are demanding rights to fair elections and judicial reform in the semiautonomous territory. Yet action film star Jackie Chan, Hong Kong-born K-pop star Jackson Wang of the group GOT7 and Cantopop singers Alan Tam and Kenny Bee have supported the police crackdown, calling themselves “flag protectors.” Other Hong Kong cultural figures have stayed silent, fearing for their careers.
The few artists who have spoken out have seen their economic and performing prospects in mainland China annihilated overnight. Their songs have vanished from streaming services, their concert tours canceled. But a few musicians have recently traveled to America to support the protesters against long odds and reprisals from China.
“Pop musicians want to be quiet about controversy, and on this one they’re particularly quiet,” said Anthony Wong Yiu-ming, 57, the singer and cofounder of the pioneering Hong Kong pop group Tat Ming Pair.
Wong is a popular, progressive Cantopop artist — a Hong Kong Bryan Ferry or David Bowie, with lyrics sung in the territory’s distinct dialect. But he, along with such singer-actors as Denise Ho and Deanie Ip, have made democratic reforms the new cause of their careers, even at the expense of their musical futures in China. Wong’s on tour in the U.S. and will perform a solo show in L.A. on Tuesday.
“It’s rebelling against the establishment, and [most artists] just don’t want to,” Wong said. “Of course, I’m very disappointed, but I never expected different from some people. Freedom of speech and civil liberties in Hong Kong are not controversial. It’s basic human rights. But most artists and actors and singers, they don’t stand with Hong Kongers.”
Hong Kong protesters
Hundreds of people form a human chain at Victoria Peak in Hong Kong on Sept. 13.(Marcus Yam/Los Angeles Times)
The protests are an echo — and escalation — of the Occupy Central movement five years ago that turned into a broad pro-democracy effort known as the Umbrella Movement. Those protests, led by teenage activist Joshua Wong (no relation), rebelled against a new policy of Beijing pre-screening candidates for political office in Hong Kong to ensure party loyalty.
Protesters were unsuccessful in stopping those policies, but the movement galvanized a generation of activists.
These latest demonstrations were in response to a proposed policy of extraditing suspected criminals from Hong Kong to mainland China, which activists feared would undermine their territory’s legal independence and put its residents at risk. The protests now encompass a range of reforms — the withdrawal of the extradition bill, secured voting rights, police reform, amnesty for protesters and a public apology for how Beijing and police have portrayed the demonstrations.
Wong, already respected as an activist for LGBT causes in Hong Kong, is one of vanishingly few musicians to have put their futures on the line to push for those goals.
Wong’s group Tat Ming Pair was one of the most progressive Cantonese acts of the ’80s and ’90s (imagine a politically radical Chinese Depeche Mode). When Wong spoke out in favor of the Umbrella Movement at the time, he gained credibility as an activist but paid the price as an artist: His touring and recording career evaporated on the mainland.
The Chinese government often pressures popular services like Tencent (the country’s leading music-streaming service, with 800 million monthly users) to remove artists who criticize the government. Artists can find longstanding relationships with live promoters on ice and lucrative endorsement deals drying up.
“This government will do things to take revenge on you,” Wong said. “If you’re not obedient, you’ll be punished. Since the Umbrella Movement, I’ve been put on a blacklist in China. I anticipated that would happen, but what I did not expect was even local opportunities decreased as well. Most companies have some ties with mainland China, and they didn’t want to make their China partners unhappy, so they might as well stop working with us.”
Censorship is both overt and subtly preemptive, said Victoria Tin-bor Hui, a professor and Hong Kong native who teaches Chinese politics and history at the University of Notre Dame.
“Every time artists or stars say anything even remotely sympathetic to protesters or critical of the government, they get in trouble,” Hui said. “You can literally have your career ruined. Denise Ho, after she joined the Umbrella Movement, everything she had listed online or on shelves was taken off. Companies [including the cosmetics firm Lancôme] told her they would have nothing more to do with her, and she started doing everything on her own.”
So Wong and other artists like Ho have been pushing back where they can.
Wong’s recent single, “Is It a Crime,” questions Beijing crackdowns on all memorials of the Tiananmen Square massacre, especially in Hong Kong, where there was a robust culture of activism and memorials around that tragedy. The single, which feels akin to Pink Floyd’s expansive, ominous electronic rock, has been blacklisted on mainland streaming services and stores.
Wong plans to speak out to commemorate the anniversary of the Umbrella Movement on this tour as well.
“The government is very afraid of art and culture,” Wong said. “If people sing about liberty and freedom of speech, the government is afraid. When I sing about the anniversary of Tiananmen, is it a crime to remember what happened? To express views? I think the Chinese government wants to suppress this side of art and freedom.”
The fallout from his support of the protests has forced him to work with new, more underground promoters and venues. The change may have some silver linings, as bookers are placing his heavy synth-rock in more rebellious club settings than the Chinese casinos he’d often play stateside. (In L.A., he’s playing 1720, a downtown venue that more often hosts underground punk bands.)
“We lost the second biggest market in the world, but because of what we are fighting for, in a way, we gained some new fans. We met new promoters who are interested in promoting us in newer markets. It’s opened new options for people who don’t want to follow” the government’s hard-line approach, Wong said.
Hui agreed that while loyalty from pro-democracy protesters can’t make up for the lost income of the China market, artists should know that Hong Kongers will remember whose side they were on during this moment and turn out or push back accordingly.
“You make less money, but Hong Kong pro-democracy people say, ‘These are our own singers, we have to save them,’” Hui said. “They support their own artists and democracy as part of larger effort to blacklist companies that sell out Hong Kong.”
Ho testified before Congress last week to support Hong Kong’s protesters. “This is not a plea for so-called foreign interference. This is a plea for democracy,” Ho said in her speech. A new bill to ban U.S. exports of crowd-control technology to Hong Kong police has bipartisan support.
No Hong Kong artists are under any illusions that the fight to maintain democracy will be easy. Even the most outspoken protesters know the long odds against a Chinese government with infinite patience for stifling dissent. That’s why support from cultural figures and musicians can be even more meaningful now, Hui said.
“Artists, if they say anything, that cheers people on,” Hui said. “Psychologists say Hong Kong suffers from territory-wide depression. Even minor symbolic gestures from artists really lift people’s morale.”
Pro-democracy artists, like protesters, are more anxious than ever. They’ve never been more invested in these uprisings, but they also fear the worst from the mainland Chinese government. “If you asked me six months ago, I was not very hopeful,” Wong said. “But after what’s happened, even though the oppression is bigger, we are stronger and more determined than before.”
Anthony Wong Yiu-ming
Where: 1720, 1720 E. 16th St.
When: 7 p.m. Tuesday
Tickets: $55-$150
Info: 1720.la //
同時也有10000部Youtube影片,追蹤數超過2,910的網紅コバにゃんチャンネル,也在其Youtube影片中提到,...
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silent film history 在 施名帥Ming Shuai Shih Facebook 的最讚貼文
天啊~好事連連,好消息一直來,恭喜大家。
撒花🎊休士頓國際影展 | 白金獎 | 台灣短片持續發光
白金雷米獎
真人實景 - 劇情片(少量/無台詞敘事)
攝影 - 短片
導演 - 短片
PLATINUM REMI AWARD
Live Action - Narrative (Little or No Dialogue)
Cinematography - Shorts
Directing - Shorts
《少年小鬼我在路上 FIGHT》4月14日於『第五十二屆休士頓國際影展』(52th WorldFest Houston )拿下白金牌獎(PLATINUM REMI AWARD)含三項高分肯定,為該影展A級獎項。
FIGHT won the Platinum Remi Award in 52th WorldFest Houston on 14th April, which is A score including 3 categories in highlight - live action, cinematography, directing.
一部『默片』在劇情片(無台詞敘事)中受到真人實景的肯定,萬分激動感謝一切盡在『無言』中!
As a Silent Film, such a honor for us having great achievement awarded in Live Action of No Dialogue Narrative section.
特別以片中男主角施名帥 (Ming Shuai Shih)與Paul Xiao蕭禾的寧靜決鬥場面致敬,今年我們繼續安靜的戰鬥。
This poster dedicates to the climax scene of FIGHT that lead actor Ming Shuai Shih & Paul Xiao fight hard quietly. And this year, we keep fighting silently.
恭喜全劇組、攝影師高子皓、以及導演林宗儒。
Congrats to team mates, cinematographer Tzu-Hao Gao and director David Lim.
★★★
影展INFO
https://worldfest.org/2019-remi-winners/
休士頓國際影展擁有特殊的獨立作風、長久歷史,採評分制,有10個主要競賽、加上200多細項評分類別,成為鼓勵全世界影視作品,獎項數量最龐大的影視展。
WorldFest Houston got unique independent spirit and long history. It's grading system has 10 major competitions and the 200+ sub-categories, WorldFest does present a lot of awards, they are both earned and deserved.
今年世界選片共八百部片,臺灣入選29部片,四部獲評審團特別獎、六部白金牌獎、八金獎、五銀獎、六銅獎。
Over 800 official selection this year, there are 29 Taiwan films awarded. We got 4 Jury Special, 6 Platinum, 8 Gold, 5 Silver and 6 Bronze.
許多好萊屋導演年輕時都得過雷米獎。
Many Hollywood filmmakers were REMI WINNERS.
#少年小鬼我在路上 #FIGHT #WorldFestHouston #休士頓 #國際影展 #白金獎 #真人實景 #LiveAction #SilentFilm #REMI #WINNER
---------------------------------------------
主演│施名帥 蕭禾 吳昇岳
特別演出│莫子儀 高英軒 黃健瑋 莊凱勛 林志儒 張忠瑞
故事│錢克勤
導演│林宗儒
副導│鄭如娟
場記│賴俊亘
前期導演助理│亓祥玫
製片│彭恆鈞
執行製片│藍宗翰 顏亦堅
製片助理│韋自宏 鄭喬文 祁文洋
演員管理│張芸菁
攝影指導│高子皓
第一攝影助理│衛子揚
第二攝影助理│黃嘉裕
空拍攝影│小蔡影像工作室
燈光設計│劉辰瑋 葉人豪
燈光助理│李紹凱
收音師│古朝瀚 黃僴哲
收音助理│楊清棋 洪正泰
美術指導│謝均安
美術設計│祁文皓
美術執行│陳大新
美術執行│杜承嘉
老車│東道車業
槍械指導│陳彥翔
服裝設計│李佩珊
服裝管理│王瑞璞 王靖慧
刺青設計/化妝│錢克勤 王瑞璞
造型設計│顏維音
梳化│楊媛媛
武術指導│楊志龍
武術助理│陳姵辰 李昱堯
劇照│趙豫中
劇照代班│李欣哲
剪輯│曾威量 劉人鳳
音樂│王榆鈞
鼓│陳保霖
大提琴│楊于萱
單簧管│高承胤
古典吉他/鋼弦吉他/鋼琴│王榆鈞
錄音師│蔡周翰
聲音設計│周自從
音效│陳大宗
混音師│陳仕桓
調光師│馮鈞稜
圖像/字體設計│廖俊裕(小子)
特效/片頭設計│何佳珍
演員│陳麗惠 匡自文 李豫雲 林睿杰 李柏緯
沈忠保 羅稚遠 曾明修 陳廷瑀 鄭宇翔
陳應齊 羅稚嘉 魏嘉辰 周哲民 張傑瑞
黃偉嘉 陳弘 藍勻蔚 陳煥宇 劉柏言
張哲豪 葉益洋 李城瑀 江文熙 陳柏廷
邱澤邦 何旭庭 陳揚 楊宇臣 梁軒愷
阮柏勳 林佑任 邵維凡
協拍│台北市電影委員會
感謝│賴君妍 陳春秀 周文梓 林文瑞 傅孟柏
李賢華 陳寶旭 許懷民 馮士哲 王玲瑜
高君亭 林姵吟 林承志 翁瑩珀 余如瑩
翁瑞彬 翁顯昇 蕭祈 唐世杰
Mickey Juan Jason Hsu Sara Chow
曾大勝 李政峰 Jim Wong
silent film history 在 許許兒-打點屬於你的裝扮日常 Facebook 的最佳貼文
最近好多未來的事情要發生了
連未來電影日都有了
快來看看你的未來會有什麼有趣的事
許許兒店門也有貼這張海報喔
門口小藍桌也有宣傳品可以拿喔
詳細的資訊就請大家慢慢觀看以下內容
FUTURE Film DAY 未來電影日(秋季場)
影片是昇華心靈的一種催化劑,短短十幾分鐘的影片中,從自我探索到社會批判,透過影片,看到世界上不同的視野,引起彼此間強烈的共鳴,甚至是一種跨越時空的靈魂碰撞,讓觀眾反思自身,以至於整個社會層面。
「Lives out of life / 生活之外的‧生活」(簡稱LOOL)是一個非營利的藝文組織,憑藉著一股熱誠與夢想在舉辦各種藝文活動,策辦「未來電影日」已達第三屆,透過與英國Future Shorts這個組織合作,取得從世界各地篩選出的優秀短片,同時自台灣發掘優秀的新銳導演,本屆更首度納入日本影展的片單,希望透過整合國內外的各種資源,舉辦更具實驗性,更具可能性的微型影展,讓大眾能夠直接接觸到國內外優秀的短片作品
http://www.tdd.com.tw/f/future.html
台北場------------------------------------
11/24(六)13:00-18:00
CAMPOBAG & URS155|Cooking Together
地址:10347 台北市大同區迪化街一段155號1樓
12/08 (六) 13:00-18:00
Shelter 防空洞
地址:106 台北市大安區泰順街60巷11號B1
台南場------------------------------------
12/1(六) 14:00-17:00
小西門時光驛棧 West Town Cafe
地址:台南市中西區西門路二段2號
●門票:單場次 NT.120、兩場次(A+B) NT.200
●售票:華娛售票系統 或 全家FamiPort
※ 不開放現場售票
────────────────────────────────
●節目單
●A場 (影片總長度:50分鐘)
やさしいマーチ
Director: 植草 航
2011 Japan | 4 mins 48 sec
搭配著Soutaiseiriron 節奏輕快的歌曲「Miss Parallel World」將少女的鄉下日常風景用怪獸來投射出少女混沌的心理掙扎…
-----------------------------------
Auf Der Strecke (On the Line)
Director: Reto Caffi
2007 Germany | 30 mins
一個百貨公司管理員從監視螢幕上看個大樓裡書店店員並愛上了她。但在從他目睹了他的假想情敵在火車上遭受攻擊卻忽視後,罪惡感開始侵蝕他原本規律的生活 …
-----------------------------------
我的房間 / My Room
Director:陳冠霖
2011 台灣 | 4 mins 36 sec
一隻隻小男孩筆下的奇異生物,隨著小男孩的心理變化而改變外型,巧妙的將現實與虛幻之間的界線破除,讓劇中角色配合超現實的場景與動作,將嚴肅的議題轉化為簡單而充滿驚喜的故事 …
-----------------------------------
A Brief History of John Baldessari
Director: Ariel Schulman & Henry Joost
2012 USA | 6 mins
從指導鯰魚和鬼入境3開始,很多人對他的認識是「在別人臉上放點點的男人」,John Baldessari的紀錄片告訴我們有關這位美國概念藝術家所有我們需要與不需要知道的情 …
-----------------------------------
瓊斯先生/Silent Love
Director:李柏翰、邱士杰、林妍伶
2011台灣 | 5 mins 39 sec
瓊斯先生是個生活平凡的人,在一個平凡的星期一因為一幅新的拼圖,發生了一連串的不平凡的意外,讓瓊斯先生從一個默默無名的普通人,變成了眾家媒體注目的焦點…
●B場 (影片總長度:50分鐘)
Rite
Director: Michael Pearce
2010 UK | 14 mins
麥克在兒子的生日派對上拜訪他,希望能修復這段受損的父子關係。但發生的事件,導致這對父子渡過一個不自在的下午…
-----------------------------------
呼忽 HUHU
Director:簡嵐淇、張晉維、紀盈如
2012 台灣 | 6 mins
整條路上都是高樓的街,老舊的小廟卻沒有人關注,小廟裡供奉的神明希望老舊的小廟能夠再次吸引人們,於是將老舊的小廟拔起進行一場大改造計畫…
-----------------------------------
Cafe Regular, Cairo
Director: Ritesh Batra
2011 Egypt & India | 11 mins
一對年輕的情侶發現他們正在談論以前從未提及的事情,他們試著在這快速改變的城市中找到自己的位置 …
-----------------------------------
チルリ
Director: 川サキ
2011 Japan | 8 mins 36 sec
少年在陌生的都市裡尋找著水,在沒有其他水源的情況下他喝下了黑水。少女的蘋果賣不出去,並漸漸腐敗,少女失望的坐下,這時她遇見了男孩 …
-----------------------------------
The Black Balloon
Directors: Ben Safdie & Joshua Safdie
2012 USA | 18 mins
本片藉由用氣球漂流在不同的高度,看著人們及他們的日常經驗,去探討紐約複雜的生活 …
────────────────────────────────
●LOOL - Facebook粉絲專頁:
https://www.facebook.com/lool.taiwan
────────────────────────────────
主辦單位 / Lives out of life / 生活之外的‧生活 ─ 未來電影日執行委員會
合作單位 / 有樂創意、Rer'in Design、TITAN design、Shelter 防空洞、Weikalossu Originality、cooking together urs 155、CAMPO BAG、小西門時光驛棧、舞智企畫、Future Shorts、國立台南藝術大學-音像動畫所、國立台中科技大學、建國科技大學、國立台中教育大學-文化創意產業設計與營運學系、CGアニメコンテスト、CGアニカップ、DOGA、華娛售票、全家FamilyMart
聯絡方式 /
北部:0918-865-987 翁鉅奇先生(Rock)、0956-265-615 鄭校芃小姐(燬久)
中部:0918-832-585 王政揚先生(吉米)、0920-384-828 邱茂庭先生
南部:0975-785-087 游尊鈞先生
silent film history 在 The Silent Era of Movies - History of Motion Pictures 的相關結果
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silent film history 在 Silent Cinema: The Beginning of Film Form (1895 – 1928) 的相關結果
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silent film history 在 Silent film - Wikipedia 的相關結果
"Silent film" is typically used as a historical term to describe an era of cinema prior to the invention of synchronized sound, but it also applies to such ... ... <看更多>