算粗淺見識到當年邵氏一線女星是怎樣的。
Monday, May 14, 2012
《傾國傾城》(1975)
算粗淺見識到當年邵氏一線女星是怎樣的。
川喜多長政回憶錄《我的履歷書》中文版
Wow, I'm in love again. This one is a major crush:
川喜多長政(Nagamasa Kawakita/かわきた ながまさ)曾是中影、中聯、華影的掌門人。上海影迷"感恩而死"利用業餘時間把川喜多長政《我的履歷書》譯成中文，並附譯另兩篇介紹他的長文，制成川喜多長政之感恩三部曲pdf版電子書，供影迷、學者免費下載。 川喜多長政《我的履歷書》中文版
Saturday, May 12, 2012
Thursday, May 10, 2012
An Evening of Kun Opera at the Huntington (May 22, 2012 - 7pm)
Sounds lovely to go watch Chinese opera in the Huntington Library. I used to live 3 minutes away from there. Loved the botanical gardens. Very tempting. I might go.
The Huntington Library, Art Collections, and Botanical Gardens
CHINESE MUSIC PROGRAM
Friends' Hall
Tuesday, May 22, 2012
7:00 p.m.
Ticketed / Reservations required
An Evening of Kun Opera: Highlights from The Jade Hairpin and The Peony Pavilion
Kun opera, or kunqu, is one of the oldest and most refined forms of opera in China. The genre was a popular leisurely activity frequently staged in the private garden residences of Suzhou during the 16th to 18th centuries. The Huntington's Liu Fang Yuan流芳園, the Garden of Flowing Fragrance, modeled after such gardens, offers us a wonderful opportunity to explore this traditional genre that almost disappeared. The program will feature two well-known scenes including "Flirting with a Zither 琴挑" from The Jade Hairpin 玉簪記 by Gao Lian高濂 (fl. 16th century) and the famous "Wandering in the Garden 遊園" from The Peony Pavilion 牡丹亭, the classic 16th century play by Tang Xianzu 湯顯祖 (1550-1616). The musical passages – performed by the renowned kunqu artists Qian Yi 錢熠, Wang Taiqi 王泰祺, and Daisy Huang黄箴莹 – will be introduced by Susan Pertel Jain.
Qian Yi as Du Liniang in the Peony Pavilion, 1999.
$10. Space is limited; advance reservations required.
http://www.brownpapertickets.com/event/232703 or 800-838-3006. Friends' Hall.
This Chinese music program was co-organized by The Huntington and the Chinese Kwun Opera Society.
Generous support came from Huntington's The Justin Vajna Memorial Fund for Educational Programs in the Chinese Garden and The Cheng Family Foundation.
Sunday, January 1, 2012
Hong Kong U Library's endorsing of sexist and racist hate speech
What, on earth, has happened to my hometown in the past decade? Plague?
http://evideo.lib.hku.hk/play.php?vid=4254026
The following is my communication with the director of Hong Kong U's library. I did not hear from him again. This is upsetting.
From: Anthony Walter FERGUSON [mailto:ferguson@hkucc.hku.hk]
Sent: Monday, November 01, 2010 9:22 AM
To: Aubrey Tang
Subject: Re: The Kong girls Bible and a memoir of Kong man talk
Sent: Monday, November 01, 2010 9:22 AM
To: Aubrey Tang
Subject: Re: The Kong girls Bible and a memoir of Kong man talk
I
will look at this more closely when I get someplace with faster email
connection. Tony
Sent from my iPad
Sent from my iPad
On Nov 1, 2010, at 8:33 PM, " Aubrey Tang" <aubrey.tang@email.ucr.edu> wrote:
Dear Dr. Ferguson,
My
name is Aubrey Tang. I am an HKU alumna, the author of BCC, currently one of
the collections in your library, and a PhD student at the Department of
Comparative Literature and Foreign Languages at University of California,
Riverside. I am conducting some research on postcolonial Hong Kong culture and
have just happened to see you on this video: http://evideo.lib.hku.hk/play.php?vid=4254026.
For all my love for my alma mater, I cannot help communicating my issue with
your libraries’ endorsing this author with you. I am aghast.
First
of all, let me clarify that I do not know any of these people involved in the
book talk in question and have no conflict of interest whatsoever in my
critique. I am only a future scholar in the subfield. May I ask you if you
happen to realize that that they were actually engaged in some seriously
misogynist and racist discussion on the video? Here, I am not only
referring to any “common” everyday objectifications of women. I am also in
cultural studies myself. I know what I’m talking about. I’m actually referring
to examples such as “the ugly women in Hong Kong have no right to demand
anything as if they were princesses.” And no, that was not uttered as any form
of irony or rhetoric. The author REALLY meant it when he said that in the talk.
Another
shocking manifestation which caught my attention was that author said the Hong
Kong employers for the Filipino domestic helpers were “masters” when he
ridiculed some local Chinese women. “Masters”? That’s not only just a invasive,
feudal and colonial, but actually offensive concept! Are you sure you really
want your library to present such an image of endorsing this kind of completely
discriminatory and virtually violent activity to your students and just anybody
who can access the material? I am in California. With nowadays technology, the
world is watching.
Your
other librarian, the staff moderator, showed no action or even intention to
challenge this kind of provocations of the author’s at all. I am sorry but as a
native speaker of Cantonese, an author in the language and a researcher in the
subfield myself, I must tell you that not only did they look like they were an
ideological clique, but he was also simply not doing his job to protect your
libraries’ integrity. I hope you agree with me that academic freedom is one
thing but it should not tolerate violence. The way they promoted hate speech in
the book talk was an abuse of the principle of freedom on different and all
levels. It was just unacceptable.
Please
let me know if you need any help from other more credible scholars in the field
if there is a language barrier. I do still have a couple of friends working at
HKU as a professor and a PhD student.
Sincerely
yours,
Aubrey
Tang
___
Aubrey Tang (鄧凱盈), Graduate Student
ucRIVERSIDE
Comparative
Literature & Foreign Languages Department Aubrey Tang (鄧凱盈), Graduate Student
ucRIVERSIDE
2415 HMNSS
Friday, December 9, 2011
反覆夜讀《星韻心曲》雜感
寫戲曲電影，讀到王心帆記小明星「淒然」，我也不覺「淚下」了，王曲聖可以記住一個女子無遺如此，卻拒絕了她，難道他這笑這問，都不過戲言，「難道 [他] 真無動於中」？此男多才若此，卻止於紙上，限在曲裡。二人之事如夢魘，令柯比久久不能回復正常。
無怪乎小明星傾心吧，港人話齌，王老師「真係型到無朋友」！
我覺得三十年代的男子好像會穿衣服好多，看王老師那領帶那頸巾，畫龍不只，會點睛呢，上世紀發生什麼事了？
(暫定)(影象詩記某一頁) 賣花姑娘的秘密
頸項上塗花露水
我在等你
潮濕的木門
我唯一知道的氣味
無從知道你的實質
你沒有物理性存在
我乾脆把五味架打翻
好記住你
門後森冷無聞
窗外有車、人、冬雨發亮
我卻履虛黑洞
心驚你沒有底
一月，你穿厚衣
被掩蔽的身體
只你胳膊幌動
我窒息抽搐
愛慾的重疾陷我於氣絕
咕咕聲
我張口狂吸
請施捨一口微薄尊嚴
狗兒不解我涕淚連連
幸好只她嗅到我
女兒之香不能洩露
賣花姑娘的秘密
Wednesday, November 30, 2011
(暫定)(影象詩記某一頁) 你是我的六十年代
原連結見 http://youtu.be/Zd19EFHJ504
或者六十年代
或者《花樣年華》
或者確實是一種《對倒》
可又或者什麼也不是
寒冷的羅省冬天
連面龐都是冰凍的
慧嫻的影像掩映
你的面容幌動
你的目光迴避
你的咀角微顫
斷斷續續、重重複複
看不明白
我的大千世界、六十年代
不需要暖壺、旗袍
只要感覺你每件襯衣的顏色
花瓣一樣溫柔
液態潸潸流動
鼻子的酸
嗅到的鹹
死亡的本能
細味你的影象，毛孔收縮
幻象的小棘
密密刺著神經
挑戰對痛苦的容忍性
墮入觸感的深淵
不覺已經地獄
忘盡誦念和修行
前功盡費
我此殘軀
早已闌珊毀爛
唯委身 youtube 一幕舊曲
可以聽聞自己
顯示器和眼角膜之間
淡薄虛無的空氣中
有一種多餘的廢物
叫做愛意
(2011年11月29日)
Sunday, November 13, 2011
西洋島
西洋島：沙質細膩海水碧藍，西洋島位於福建霞浦縣東南海域，與霞浦縣城相距20海里，是海島鄉的一部分，同時也是鄉政府所在地，這裡曾是兩岸軍事鬥爭的前沿陣地，也是福建最早的民間對台漁貨交易點之一。西洋島有不少形色各異的島嶼及淳樸的海島民俗，這裡與著名的閩東漁場、台灣馬祖列島瀕臨
Monday, September 26, 2011
Saturday, July 16, 2011
Before Chinglish: Pidgin English (洋涇浜英語)
Wow, I think I'm in love.
Title: Shanghai. A handbook for travellers and residents, published in 1904
Authors: Darwent, Charles Ewart (Rev.)
Wednesday, July 13, 2011
Pre-1932 Hong Kong history question: "發財手放入添丁口"?
Does anybody understand why the sex workers would say "發財手放入添丁口" to tease the customers? What does it mean?
Sunday, March 20, 2011
Hollywood ad on 1930s Hong Kong paper
Wow, look at the circled English portion which seems scissor-cut straight out from an American paper. The publication date was still printed on KMT-style although Hong Kong had been a colony for decades by then. Phone numbers were still 5-digit. So cute. Is the Queen Theatre still around these days?
Tuesday, March 15, 2011
(暫定)(影象詩記某一頁) 螞蟻
但使滿城風雨
你才偶然爬過來
才好讓我的衣袖
成為你最臨時的玩樂
沈睡方一日
睜眼卻見你直看我
那眼眶裡的溫柔
訴盡千世緣份
不能捉摸的身體
你每一動
頓住了我的呼吸
隱密中的甜蜜
你告訴我土地的秘密
我只聽並不言語
那堅定的眼神
我意馬心猿
妻妾於你
自然之於無物
如果我穿絲綢
你可會嫌累贅？
又豈在兒女私情
我把你輕抖落佛陀的書架上
你宛若游魚
轉眼消失在典藏之間
掙扎前走的反是我
淚水矇矓了視線
情人的眼裡有
千萬個如果
（二零一一年二月廿七日）
Friday, January 28, 2011
Sunday, January 9, 2011
ISO 乾物女 ( ひものおんな himono onna) classic
Anybody knows where I can buy the Chinese translation of 秀樂沙鷺's 《小螢的青春》，published by 東立, in Greater L.A. area or order online? 吳興記 doesn't have it. The girl in it sounds too much like the adult woman my favorite comic character, Chibi Maruko Chan, would have grown up to be.
Sunday, December 12, 2010
Thursday, December 9, 2010
Term break is great! Watching Chinese propaganda films all day
Look, look, I dug them out. Joan Chen played a deaf and dumb girl, Yamei, in Qingchun (青春) who cried when Mao Zedong waived at the sea of mobilized youths. She was, of course, cured by some Communist Party doctor and could hear and speak again. We all have something embarrassing in our past which we don't want to remember, huh?
Friday, November 26, 2010
自居的流亡者
"Diaspora"普遍被譯做"離散"，例如我會說自己是在離散中，但一個肯定有香港身份証、在香港住了超過廿年的大陸人，九七前從香港離散後竟自居"流亡"，對不起，我想吐。
香港是沒有文字獄的，當大家都在九七前後失去了"地盤"時，香港的天空下有兩種寫手，不要面的叫自己"流亡"，自重的叫自己"失業"(林保華筆名為凌鋒):
(轉自http://gate.tycool.com:82/gate/big5/www.tycool.com/bbs/printthread.php?t=169333&pp=40)
香港回歸十年，我流亡十年
今年七月一日，是香港主權轉移的十週年，中國稱為「回歸」十週年而大事慶祝。對我來說，卻是離開香港的十週年。
雖然GCD繼續製造「鶯歌燕舞」的氛圍，然而，對我來說，一個自由社會「回歸」到專Zhi獨Cai統Zhi者手裏，即使再披上「民族主義」的光環，仍然何慶之有？何況，我也看到香港被慢火煮青蛙的手段逐步沉淪的十年；反之，民主的台灣，卻在東方冉冉升起，因此，在我的人生道路上再做一次重大選擇。
基於對GCD的認識，我一生之中，不願意成為「回鍋肉」受GCD的第二次統Zhi，所以，決心在中Gong的鐵蹄進入前離開香港。我是九七年六月二十八日離開香港的。因為那時接受台北「自由時報」約稿，在香港回歸前一百天，每天追蹤香港的變化，寫成專欄刊出。當時網路資訊沒有這樣發達，非得親自在香港觀察不可。當時採訪我的「壹週刊」記者問我，為何不在六月三十日才離開香港更有震撼性？我說，萬一那天有颱風離開不了怎麼辦？並不是共軍來了就會抓我，而是我在七一時看著坦克轟隆轟隆進城，我成為被征服者，感覺上非常不好。
九七前我就有離開香港的打算，去哪裏是個問題。我曾經想移居台灣，但是，我想到我好不容易離開中國到香港，GCD卻從後面追來收回香港；我到了台灣，GCD再追過來「統一」台灣怎麼辦，難道再跑一次？於是，決定移民加拿大，預定十月在紐約面談，這樣我就可以先離開香港到紐約。由於到紐約後友人勸說不妨也申請美國移民看看，我們便同時辦美國移民，結果美國先批，我自然選擇美國，並且居住在全球第一大都會的紐約。
最後，我怎麼又會選擇到台灣呢？最主要原因是台灣的獨立意識越來越強烈。首先，李登輝總統在一九九九年提出「特殊兩國論」；接下來二○○○年主張台獨的民進党執政，陳水扁總統宣示「一邊一國」，台灣被GCD統一的可能性越來越小，它對我的吸引力也就越來越大。這當然還由於在美國存在語言的困難，可以做的事情有限，不如台灣有許多活動空間。而在政黨輪替後，台灣出現一批「忽然愛共」人士，掀起親共鼓噪，使台灣像九七前的香港那樣，使我很不以為然，因此，也有到台灣方便做些事情的打算。搬一次家不容易，於是，借二○○六年三月要到台北出席公益信託雷震民主人Quan基金諮詢委員會會議的機會，我們同時把家搬過來了。
兜了一圈，是不是在美國的九年白住了呢？也不是。
第一，我在印尼、中國、香港住過大半生，就缺乏在西方國家的經驗，在美國住幾年，雖然還是浮光掠影，至少知道典型的資本主義國家是怎麼回事，增長我許多見識，這是書本上學不到的。
第二，在美國認識了一批台灣人、西藏人等，對他們的獨立理唸有進一步的體會；接觸發L供人士，對他們的信仰與受迫Hai也有較多認識；接觸更多的當然還是海外的中國民Yun人士，因此，也有深刻的了解。這些都是我一生經歷中的寶貴財富；對我最後選擇到台灣也有重大的影響。
在台灣定居後，接觸更多台灣的升斗小民，他們的單純、樸實、熱情，使我對台灣有更深切的感情，也更加覺得台灣如果被GCD統Zhi簡直沒有天理。在我不久前拿到台灣身分的那一刻，我才確定可以結束十年流亡生活，並且與台灣成為命運共同體。我感謝台灣給我的這一切，我也將獻出我的余生。今後，我將與台灣一起生存、發展，休戚與共。
林保華 原著
Monday, October 4, 2010
女性與城市生活:三十年代上海初探
電影課上播出了紫羅蘭的處女作《銀漢雙星》，她的名字聽來似曾相識之感，一看維基，原來是在香港唱過戲的女演員，上一代的演員原來也有從默片年代便登場啊？電影是1931年在中國拍的作品，全套電影在優酷可看到了：http://v.youku.com/v_show/id_XMTY1NjQ1MTI=.html
當時國人對女性作為一種純真的化身的尋迷程度，我覺得很震驚。
紫羅蘭在電影中扮演住在河邊的村女李月英，她有一個從事作曲工作、患病的父親，偶然機會下，她的美貌和歌唱天份被電影導演看中了，觀眾於是被一眾電影人的角度帶領到一系列 "尋芳" 行動去，為了認識和說服月英拍電影，他們先借意要求在她門外拍攝，故事並順勢安排名演員男主角楊倚雲首次在其家外偶見女方，柴娃娃一輪後，又去月英表現埃及舞的地方捧場，方才好意思開口邀她拍片，前前後後擾攘良久，那一種開墾發掘純真、"一親芳澤" 的視覺刺激，於現代觀眾而言，極之奇怪，我一邊看這一段，一邊不耐煩地寫筆記，看書，弄文件袋，再看，噢？仍未搞完。
如果沿用傳統電影心理學理論的去解釋，自然，《銀漢雙星》與同期經典荷理活電影一樣，引導觀眾去以陽性主體的角度去注視女角，但以銀漢雙星的歷史背景而論，它更展示出國人對當時城市生活產生出的一種焦慮。
傳統上，女人的純真比男人的絕對更容易為人喜歡，所以電影利用了女角去變成鄉土、純真的化身。
這種對現代化的焦慮，害怕城市多樣化生活，歌頌傳統鄉村純樸的情懷，當然從未停止過，就算直至今時今日，城市是萬惡的溫床，而鄉下則代表純真、善良等觀念，依然為觀眾受落。
但這種焦慮是很扭曲的，因為，同一時間，電影亦環繞女主角飛上技頭變成電影明星的種種奢華，當月英主演的電影《樓東怨》令她聲名大噪時，故事亦自然發展至她多采多姿的明星生活，她出入國泰俱樂部打迷你高爾夫球，出席在豪華禮堂舉行的慶功宴，穿西裙和高跟鞋跳社交舞，和俊俏男明星在丘比特雕像旁邊談情等代表羅曼蒂克的遭遇，都是當時觀眾愛看的，對物質生活、商品社會的趨之若鶩，是一種被展露但同時被否定的慾望，可以看，可以羨慕，可以陶醉在紙醉金迷的上流社會生活之中，但最後仍隨著與男主角未能共諧連理的原因，而失望地回歸到鄉土文化的本源。
星期二 (10/5) 晚上八時，柯比將在大氣電波中與大家分享更多電影話題。
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