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"The Grandmaster" to release in US on 8/23/2013
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PostPosted: Mon Feb 11, 2013 12:23 am    Post subject: "The Grandmaster" to release in US on 8/23/2013 Reply with quote



"The Grandmaster" to release in US

Cinema OnlineCinema Online

http://my.news.yahoo.com/grandmaster-release-us-171517826.html

11 Feb – Director Wong Kar Wai's "The Grandmaster" has been picked up by The Weinstein Company and will soon be seen across cinemas in the Western side of the hemisphere.

Deadline.com broke the news that TWC acquired all the rights in the US and English-speaking Canadian territories from Annapurna as well as the rights to Australia, New Zealand and the UK from Wild Bunch.

"I am pleased to continue our long-time and multi-picture collaboration with TWC on "The Grandmaster". With Harvey's (Weinstein) expertise and his passion for this genre, I am confident that he and his team will reach new heights with "The Grandmaster" by cultivating hard-core action fans as well as exciting and pleasing those long-time fans of my films," said Wong.

Weinstein returned the compliments, praising Wong as an extraordinary filmmaker.

"The Grandmaster" tells the tale of Bruce Lee's legendary mentor, Ip Man, who crosses path with various Kung Fu masters during the Japanese invasion in the 1930s. The film stars Tony Leung Chiu-Wai as the grandmaster as well as Zhang Ziyi, Zhang Chen and Korean actress Song Hye-Kyo.

The epic premiered in the Berlin Film Festival as the opening film on 7 February.


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PostPosted: Mon Feb 11, 2013 12:33 am    Post subject: Reply with quote

Berlin: So Much For Bad Blood Between Harvey And Megan Ellison; TWC Acquires Wong Kar Wai’s ‘The Grandmaster’

By MIKE FLEMING JR | Thursday February 7, 2013 @ 11:59am EST



http://www.deadline.com/2013/02/so-much-for-bad-blood-between-harvey-and-megan-ellison-twc-acquires-wong-kar-wais-the-grandmaster/

The Weinstein Company has acquired all rights in the U.S. and English-speaking Canadian territories from Annapurna on Wong Kar Wai’s The Grandmaster, which premieres tonight as the opening film at the Berlin Film Festival. TWC also landed rights to Australia, New Zealand, and the UK from Wild Bunch.

The Grandmaster, written by Wong, Zou Jingzhi, and Xu Haofeng, was executive produced by Ellison (she has money in the movie), and produced by Jacky Pang and Wong. The film opened to critical praise last month in China and has just reached over $50 million at the box office there, making it the director’s highest-grossing film in his career.

I’m sure there is uneasiness between Ellison and Weinstein. In an interview I did with him at Sundance, Weinstein acknowledged their mutual disappointment over The Master and how it didn’t break out, with Ellison not coming near recouping the $35 million or so that she spent to make the film. In hindsight, Weinstein felt he could have helped by selling the more relate-able theme of the homebound warrior who’s lost and looking for something to believe in, rather than the origins of Scientology theme that stuck with the film and didn’t get a strong response.

It is an epic martial arts drama set against the tumultuous backdrop of 1930s China and inspired by the life and times of the legendary IP Man (Tony Leung), mentor to Bruce Lee. The story focuses on two kung fu masters, IP Man, and Gong Er, and as their worlds collide on the night of the Japanese invasion in 1936. The plot encompasses themes of war, family, revenge, desire, love, and memory. The all-star cast headed by Tony Leung Chiu Wa also includes Ziyi Zhang, Chang Chen, Xiao Shengyang and Song Hye Kyo as well as hundreds of Asia’s top martial artists.

Wong said: “I am pleased to continue our long-time and multi picture collaboration with TWC on The Grandmaster. With Harvey’s expertise and his passion for this genre, I am confident that he and his team will reach new heights with The Grandmaster by cultivating hard-core action fans as well as exciting and pleasing those long time fans of my films.”

“We here at TWC feel truly honored to be able to continue our relationship with Wong Kar Wai and Annapurna”, said Weinstein. “Wong Kar Wai is such an extraordinary filmmaker, and The Grandmaster is no exception as he takes the audience on an exciting and emotional ride. Annapurna has come to be one of the great cutting-edge new companies in our industry. They have produced numerous award-winning films including Zero Dark Thirty, and The Master which we had partnered on, and we are absolutely thrilled to be working with them again as they have shown invaluable support to our campaigns”.

The deal was negotiated by TWC COO David Glasser and Michal Podell Steinberg, EVP Business and Legal Affairs and Acquisitions, with Chris Corabi on behalf of Annapurna and attorney George Hayum for Fortissimo. CAA, Hayum and Schwartzman represented Kar Wai on the deal.


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PostPosted: Tue May 28, 2013 10:13 pm    Post subject: Reply with quote

The Grandmaster - release in 8/23/2013
http://www.hollywoodreporter.com/movie/grandmaster

Company Info
The Weinstein Company Domestic Theatrical Distributor
Annapurna Pictures Domestic Theatrical Distributor
Sil-Metropole Organization Production Company
Jet Tone Films Production Company
Block 2 Pictures Production Company
Bona Film Group Production Company

-----------------------------------------------------------------------
The Grandmaster: Film Review
5:40 PM PST 1/9/2013 by Clarence Tsui

http://www.hollywoodreporter.com/movie/grandmaster/review/410574



The Bottom Line
A scintillating mix of explosive action choreography and suppressed emotions, but it could have used more work on consistency in tone and character development.

Director/Story
Wong Kar-wai

Cast
Tony Leung Chiu-wai, Zhang Ziyi, Chang Chen, Wang Qingxiang, Zhang Jin, Zhao Benshan, Song Hye-kyo

Screenwriters
Zou Jingzhi, Xu Haofeng, Wong Kar-wai

Wong Kar-wai's martial arts epic, the 2013 Berlinale's opening-night film, is equal parts existential melancholy and gravity-defying action.

Prior to The Grandmaster’s barnstorming pre-credits fighting sequence, the film’s main protagonist, Ip Man (Tony Leung Chiu-wai), is heard expounding his own view toward martial arts to an unseen friend. “Don’t tell me how good your skills are, how brilliant your master is and how profound your school is,” he says. “Kung fu: two words. One horizontal, one vertical -- if you’re wrong, you’ll be left lying down. If you’re right, you’re left standing -- and only the ones who stand have the right to talk."

STORY: THR Critics' 12 Best International Movies of 2012: THR Year in Review

It’s a line that sums up Wong Kar-wai’s much-anticipated historical martial arts epic. The Grandmaster, which will open the Berlin International Film Festival on Feb. 7, is an action-packed spectacle for sure -- indeed, the film contains some of the most dazzling fights ever seen onscreen, courtesy of the action choreography of Yuen Woo-ping (of The Matrix and Crouching Tiger, Hidden Dragon fame) -- but the Hong Kong auteur is seemingly more preoccupied with the introspective verbal exchanges between his battle-hardened warriors.

While martial arts aficionados will find fulfillment with the fights -- complete with more-than-explicit primers from some of the fighters themselves about the specialties of the art they practice -- Wong’s art house fan base also will find much to savor, with the leading characters oozing the kind of longing that defines the filmmaker's oeuvre. The suppressed affections between Ip and the young, headstrong northeastern fighter Gong Er (Zhang Ziyi) doubtless will mesmerize festival audiences converted to Wong’s aesthetics through In the Mood for Love.

REPORT: Wong Kar-wai in Last-Minute Rush to Finish 'The Grandmaster' for World Premiere

And beyond yearning of the romantic kind, The Grandmaster also is an evocation of the yearning for home from drifting individuals, with Hong Kong becoming a haven for fighters living out their last years after their forced departure from a politically tumultuous China (it’s hardly coincidental that the idea of the film was conceived as the director was putting final touches on Happy Together, his 1998 film about two Hong Kongers living in self-exile in Buenos Aires just around the time of the former colony’s transition to Chinese sovereignty). It’s a sentiment that should play well with audiences in the director’s hometown. If they are patient enough to draw such meanings from the film, that is.

Since Wong first announced the project in 2002, the life of Ip Man -- a real-life master who was responsible for the development of the Wing Chun school of martial arts, of which a teenage Bruce Lee was a student -- already has found its way to the screen with Wilson Yip's Ip Man and Ip Man 2. Offering a more straightforward account of Ip’s life, those films are distinctly more accessible than The Grandmaster, with actor Donnie Yen generating critical acclaim not just for the action but also for a measured performance revealing the man behind the moves.

This has certainly left a mark on Wong’s pursuit of The Grandmaster, with recurrent reports through the years of how the director was working to move his brainchild away from being just an Ip Man biopic. The project has traveled under the title of The Grandmasters for a certain period of time (the pluralistic title remains on the poster at the main web page of Wong’s production company Jet Tone Films). Indeed, it would have been a more appropriate title: While Ip’s perception of the world somehow frames the narrative -- through voice-overs accounting for his background and his observations of life and characters around him -- the final two-hour cut dedicates sizable screen time to Gong Er’s story, with other masters weighing in with their own philosophical and physical nuggets as well.

STORY: Berlin 2013: Wong Kar-wai's 'The Grandmaster' to Open Festival

The film’s first half-hour is definitely Ip’s (and Leung’s), though. Set in Foshan, the section first lays down Ip’s backstory, with his narration about his childhood and his marriage juxtaposed with images of a young Ip being initiated into martial arts by his teacher Chen Heshun (choreographer Yuen) and then intimate sequences of Ip’s contented domestic life with his wife Zhang Yongcheng (Korean actress Song Hye-kyo). Ip’s voice then leads the viewer to the Golden Pavilion, a lavishly appointed establishment, and brothel, which serves as a 1930s version of the tavern in old-school martial arts films.

Ip is contracted into a duel with Gong Yutian (Wang Qingxiang), a martial arts master from northeastern China looking for a last fight (and a consolidation of the supremacy of his school over its southern rivals) before he retires. When Ip emerges victorious, Gong’s daughter, Gong Er, challenges Ip to a fight to restore her clan’s reputation. She satisfies her hunger for a win but also finds herself subjected to another craving: With her and her opponent's limbs winding up all entangled (and some parts of the fight shot beautifully in slow motion), their yearnings begin.

But it’s at this point that Ip recedes into the background and Gong Er is allowed to take over. Shifting to her hometown in Japanese-occupied northeastern China in the late 1930s, the story kicks into play again as Gong Yutian dies after a confrontation with Ma San (Zhang Jin), his estranged ex-protege. Gong Er vows to avenge her father’s murder in the face of much disparagement from her misogynist elders, who tell her to let things lie and get married.

In one of their last meetings, Gong admits to having once harbored amorous feelings for Ip. But it’s a confession that leads to nothing. Just as significantly, she also tells Ip about what her main regret in life is -- that she has yet to see life as it is, and asks Ip to do so on her behalf.

Ip has survived all to tell the tale, albeit in a solitude shared by many of Wong’s forlorn protagonists in previous films. Putting Ip in a suit and tie in one of the film’s final scenes, it can be said that Wong might be evoking Chau Mo-wan, the fictional 1960s martial arts novelist whom Leung plays in In the Mood for Love.

When asked about the challenge of adhering to deadlines -- postproduction of the film reportedly was finished just in time for its Jan. 6 world premiere in Beijing -- Wong said in a press conference that he would have spent “a couple of months more” editing the film if he could. It’s easy to agree with him on the need for this: While this domestic-release version is a sight to behold, Wong struggles to channel his original vision into a limited time span. (His first rough cut, which reportedly came in at four hours, easily could appear later somewhere as a redux, as his Ashes of Time did in 2008.)

While Zhang Ziyi’s Gong Er is more or less complete and coherent, the same can't be said of some of the other characters, such as Chang Chen’s Razor, an expert of the Bagua school who is supposed to be another of the grandmasters. Song’s Madam Ip has only a cursory presence and is basically rendered invisible in the film’s second half. It’s a situation brought about reportedly by the long gestation of the film -- rumors are that the Korean actress couldn’t fit additional filming into her schedule -- but it also undermines Wong’s efforts to provide a fully realized, nuanced account of Ip’s emotional torment.

Still, The Grandmaster offers audiences much to marvel at visually. Production designer William Chang Shuk-ping has come to Wong’s aid with sumptuous sets, ranging from the pompous Golden Pavilion to the stunning snowscapes in which Gong Yutian’s funeral march takes place. Philippe Le Sourd’s cinematography brings Yuen’s scintillating action sequences into sharp focus -- a crucial factor given Wong's penchant for close-ups that can seemingly reveal a universe in the burning tip of a cigarette.

True to Wong’s style, The Grandmaster is infused with melancholy and a near-existentialist resignation to the uncertainties of fate. Even though we know that Ip eventually will prosper -- Wing Chun is now one of the most well-known martial arts schools in the world -- Wong's version of Ip ultimately is a portrait of a sad, isolated figure. Wong seems to be saying that Ip may be the last one left standing, but he is not necessarily the one who wins, after all.


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PostPosted: Thu Jul 11, 2013 7:51 pm    Post subject: Reply with quote

View With Your Crew: 'The Grandmaster'
July 11, 2013 | Jennifer Lafferty

http://www.stack.com/2013/07/11/the-grandmaster/



The Hong Kong-Chinese martial arts drama The Grandmaster, starring Tony Leung, is headed to American theaters Aug. 23, 2013. The film, which has already seen a lot of success after premiering in China this past January, depicts the exciting life of Wing Chun, grandmaster Ip Man who trained Bruce Lee.

This biographical action saga is told largely in flashbacks. The story really picks up when Ip Man is challenged by northern China martial arts master Gong Yutian. In a strange twist, the fight between the two turns out to be an exchange of philosophical ideas. After establishing his reputation by defeating Yutian, Ip Man continues his journey to Hong Kong, where he faces enormous competition from other martial arts masters.

The film has been lauded for its visually stunning combat scenes. A scene in which Ip Man fights dozens of combatants in the rain is especially impressive.


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PostPosted: Thu Jul 11, 2013 7:53 pm    Post subject: Reply with quote

Review: The Grandmaster

http://news.asiaone.com/News/Latest%2BNews/Showbiz/Story/A1Story20130613-429527.html

By Kristie Michelle Chiew
The New Paper
Saturday, Jun 15, 2013

Set in the 1930s, the movie follows Wing Chun master Ip Man (Tony Leung Chiuwai) from his youth, to his experiences through the second Sino-Japanese war and finally his journey to the position of a Grandmaster in the martial arts world.

What I like is that while the first half of the movie focuses on Ip Man, we also get to see other gongfu masters, like Gong Er (Zhang Ziyi), the daughter of a gongfu master from northern China.

It is Gong Er and Ip Man's first fighting scene that is most poignant, made even more intense by sharp cinematography.

The Grandmaster is definitely a visual marvel with luxurious sets ranging from the gilded Golden Pavillion (a brothel or tavern of some sort), to the stunning snowscapes of Gong Er's northern home.

There are loads of contemplative shots and the music that underscores the film is more than amazing.

I also have no complaints about the cast, featuring famous names like China's stage actors Zhao Benshan and Xiao Shen-yang, martial art veterans Cung Le, Lo Mang, yuen Woo Ping and Bruce Leung, and Korean actress Song Hye-Kyo.

The DVD comes with a great behindthe- scenes featurette.

It showed how the actors trained for their roles, how they perceived their characters and how understanding the historical realities of that time affected their portrayal.

My only beef? I wish the DVD included the original language track for the movie, which was a mix of Mandarin and Cantonese. The DVD version is all Mandarin.
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PostPosted: Thu Jul 11, 2013 7:55 pm    Post subject: Reply with quote

The Films of Wong Kar-wai at the MFA
Museum of Fine Art (Boston)

http://www.colormagazineusa.com/index.php?option=com_content&view=article&id=890:the-films-of-wong-kar-wai-at-the-mfa&catid=40:entertainment

Tickets may be purchased at www.mfa.org/film, by calling the MFA Ticketing Line at 800.440.6975, or in person at any MFA ticket desk. Ticket prices: $9 for MFA members, students and seniors; $11 for general admission. Discount matinee prices (weekdays until 5 p.m., weekends until 12:30 p.m.): $7 for MFA members, students, and seniors; $8 general admission. $5 to all screenings for University members with valid student ID.

-----------------------------------------------------------

Acknowledged throughout the world as one of the most important directors working today, Wong Kar-wai has developed a signature style of bold cinematography, music, and editing that demands the immersive experience of the big screen. This complete feature film retrospective, at the Museum of Fine Arts Aug 1 through 25, includes a special advance screening of his latest film The Grandmaster. All films are in Cantonese with English subtitles and screen on 35mm unless otherwise noted.

COMPLETE PROGRAM

As Tears Go By (Thu, Aug 1, 5 pm, Sat, Aug 3, 1 pm)

As Tears Go By by Wong Kar-wai (Hong Kong, 1988, 102 min.). Balancing experimentation and realism with brazen romanticism, As Tears Go By heralded one of the most auspicious directorial debuts in international cinema. Wah (Andy Lau), a rising star in the Hong Kong underworld, engages in a loyalty tug-of-war between Triad bosses and his unreliable partner. As an escalating test of wills with a stubborn debtor explodes into bloodshed and a ruthless police crackdown, Wah’s growing fascination with the beautiful Ngor (Maggie Cheung) becomes his last chance for an escape from a violent past.

Days of Being Wild (Fri, Aug 2, 7:30 pm, Sun, Aug 4, 3:30 pm)

Days of Being Wild by Wong Kar-wai (Hong Kong, 1991, 94 min.). Days of Being Wild offers an intoxicating cocktail of lush nostalgia and bitter alienation equaled only by Wong Kar-wai’s subsequent films. When Luddy (Andy Lau) beguiles lovely shop girl Su Lizen (Maggie Cheung), he unknowingly sets in motion a sequence of broken hearts and unremembered promises that climaxes in naked obsession, inadvertent self-discovery, and shocking violence. Days of Being Wild’s visionary audacity and deep romantic conviction sustains and rewards multiple viewings.

Chungking Express (Wed, Aug 7, 8 pm, Fri, Aug 9, 3 pm)

Chungking Express by Wong Kar-wai (Hong Kong, 1994, 102 min.). Kar-wai populates Chungking Express with characters dark and comic, magical and existential in this defining work of ’90s cinema. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung), both jilted by ex-lovers, cross paths at the Midnight Express takeout restaurant stand, where the ethereal pixie waitress Faye (Faye Wong) works. The layered soundtrack combines the busy streets of Hong Kong, jazz music, and the iconic song, “California Dreamin’ ” into a film filled with romantic longing. Digital presentation.

Ashes of Time (Thu, Aug 8, 5:30 pm, Sat, Aug 10, 3:30 pm)

Ashes of Time (Hong Kong, 1994, 100 min.). In ancient China, swordsman Ouyang Feng (Leslie Cheung) retreats to the desert to recover from the sting of an affair gone wrong. With a hardened heart, he subcontracts out killings to bounty hunters, who face their own dilemmas on the road to redemption. Tony Leung, Brigitte Lin, and Maggie Cheung also star in this martial arts epic. Featuring stunning choreographed fight sequences, Ashes of Time is “an excursion into the realm of pure cinema,” The New York Times.

Fallen Angels (Thu, Aug 8, 8 pm, Sat, Aug 10, 1 pm)

Fallen Angels by Wong Kar-wai (Hong Kong, 1995, 96 min). Set in the neon-washed underworld of Hong Kong, Fallen Angels intertwines two parallel tales about love and isolation with ultra-hip style and classical cinematic sensibilities. There’s a love affair between a contract killer and the ravishing female agent. Ex-convict He Zhiwu (Takeshi Kaneshiro) makes a living by re-opening shops that closed for the night and intimidating customers into buying goods and services from him. After an awkward romance with a girl named Cherry, He finds himself all the more alone.

Happy Together (Fri, Aug 9, 8 pm, Sun, Aug 11, 3 pm)

Happy Together by Wong Kar-wai (Hong Kong, 1997, 96 min.). Happy Together is a cinematic balancing act, a stunning display of filmmaking style, and a touching love story evenly mixed into one film. Tony Leung and Leslie Cheung play a pair of gay lovers living out the waning days of their relationship as expatriates in Buenos Aires. Happy Together reveals a corner of the world alive with intimate colors and an astonishing array of sounds.

The Grandmaster (Thu, Aug 15, 8 pm)

The Grandmaster by Wong Kar-wai (Hong Kong, 2013, 129 min.). See one of the year’s most anticipated films before its Boston release! The Grandmaster is an epic action feature inspired by the life and times of the legendary kung fu master, Ip Man. Gorgeously filmed in a range of stunning locations that include the snow-swept landscapes of northeast China and the subtropical South, The Grandmaster features virtuoso performances by some of the greatest stars of contemporary Asian cinema, including Tony Leung and Ziyi Zhang.

In the Mood for Love (Fri, Aug 16, 8 pm, Sun, Aug 18, 3 pm)

In the Mood for Love by Wong Kar-wai (Hong Kong, 2000, 98 min.). Hong Kong, 1962: Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung) move into neighboring apartments on the same day. Their encounters are formal and polite—until a discovery about their spouses creates an intimate bond between them. At once delicately mannered and visually extravagant, In the Mood for Love is a masterful evocation of romantic longing and fleeting moments. With its aching musical soundtrack and exquisite cinematography, this film has been a major stylistic influence on the past decade of cinema.

2046 (Wed, Aug 21, 8 pm, Thu, Aug 22, 5 pm)

2046 by Wong Kar-wai (Hong Kong, 2004, 129 min.). Visually decadent and structurally complex, 2046 picks up where In the Mood for Love ends. Through time travel and parallel worlds, this lushly photographed romantic drama explores Chow Mo-wan’s (Tony Leung) relationship with other women only to realize his true love is for Su Li-zhen (Maggie Cheung). “An unqualified triumph” (The New York Times). In Cantonese, Japanese, and Mandarin with English subtitles.

My Blueberry Nights (Thu, Aug 22, 8 pm, Sun, Aug 25, 3 pm)

My Blueberry Nights by Wong Kar-wai (Hong Kong/China/France, 2007, 95 min.). Wong Kar-wai’s debut English language feature takes his audience on a dramatic journey across the distance between heartbreak and a new beginning. After a break-up, Elizabeth (played by songstress Norah Jones) sets out on a journey across America, leaving behind a life of memories all while in search of something to mend her broken heart. Elizabeth befriends others whose yearnings are greater than hers, including a troubled cop (David Strathairn) and his estranged wife (Rachel Weisz), and a gambler (Natalie Portman) with a score to settle. In English.
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PostPosted: Fri Jul 12, 2013 11:03 pm    Post subject: Reply with quote

Get Excited for Wong Kar-wai's 'The Grandmaster' With a New US Trailer
By Hillary Weston , July 12, 2013

http://www.blackbookmag.com/movies/get-excited-for-wong-kar-wai-s-the-grandmaster-with-a-new-us-trailer-1.63608

Earlier today, we took a look back at the beautifully painful love and longing in director Wong Kar-wai's films. But with this latest feature we're given a film that harkens back to his Ashes of Time sensibility with The Grandmaster. Starring the ever-incredible Tony Leung—a true Kar-wai staple—the film tells the story of famed marital arts master Ip Man.

A few months back we got a glimpse of the film with a domestic trailer but today the full-length theatrical version has been released. With gorgeous cinematography and stunningly choreographed fight sequences, this may not be a languid existential romance but it sure looks incredible. Speaking to the film back in January, Variety stated:

Venturing into fresh creative terrain without relinquishing his familiar themes and stylistic flourishes, Hong Kong auteur Wong Kar Wai exceeds expectations with "The Grandmaster," fashioning a 1930s action saga into a refined piece of commercial filmmaking. Boasting one of the most propulsive yet ethereal realizations of authentic martial arts onscreen, as well as a merging of physicality and philosophy not attained in Chinese cinema since King Hu's masterpieces, the hotly anticipated pic is sure to win new converts from the genre camp.
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PostPosted: Fri Jul 12, 2013 11:12 pm    Post subject: Reply with quote

Grandmaster Interviews & Reports in different Languages:

http://www.haz.de/Nachrichten/Kultur/Kino/Interview-mit-Tony-Leung-aus-dem-Film-the-Grandmaster

http://www.nzz.ch/aktuell/feuilleton/film/zuschlagen-und-schwelgen-1.18114234

http://www.students.ch/magazin/details/69952/Kino-The-Grandmaster

http://www.zeit.de/kultur/film/2013-06/film-the-grandmaster

http://www.cineblog.it/post/83845/the-grandmaster-trailer-italiano-del-biopic-con-arti-marziali-di-wong-kar-wai

http://www.abruzzo24ore.tv/news/The-Grandmaster-a-settembre-nelle-sale/122003.htm

http://www.yaez.de/Kino/2033-The-Grandmaster-Viel-Kampfkunst-wenig-Story.html

http://www.womenweb.de/vorlagen/gewinnspiel_neu.asp?modul=2&spiel_id=3807

http://www.schweizer-illustrierte.ch/kultur/liebe-im-zeichen-des-kung-fu

Try to use one of these online translation tools:

http://translate.google.com/

http://www.bing.com/translator/


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PostPosted: Sun Jul 14, 2013 4:20 am    Post subject: Reply with quote

Congrats to this amazing program, dear U.S. fellow fans.....a "WKW and Tony
-Festival".Good luck to get a chance to watch some of these BEAUTIFUL FILMS. Such a rare chance to watch them all in theatre ! Hold my fingers crossed for you to get tickets you want :)....
......and hope for s short report when you managed ;) haha
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PostPosted: Sat Jul 20, 2013 8:11 am    Post subject: Reply with quote

Sandy wrote:
Grandmaster Interviews & Reports in different Languages:
Fans, please make screen scraping and translate if you got time.

I`m working on it, at least on 2-3 articles. Give some more time, OK?
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PostPosted: Mon Jul 22, 2013 11:10 pm    Post subject: Reply with quote

Wong Kar-Wai Takes on Yip Man? The Trailer for ‘The Grandmaster’ is Here.
by Bill Gibron on July 16, 2013 at 10:23 am

http://www.technologytell.com/entertainment/22570/wong-kar-wai-takes-on-yip-man-the-trailer-for-the-grandmaster-is-here/

He was known as Yip Man, a master of martial arts that literally changed the face of modern fighting. Perhaps best known for training future international superstar Bruce Lee, his legacy, and the skill set known as “Wing Chun,” has been a focal point of contemporary wushu for decades.

Naturally, the iconic figure has been the subject of several films, including the immensely popular ‘Ip Man’ franchise starring Donnie Yen. Now, “visionary” director Wong Kar-wai, celebrated among the festival circuit crowd for his artistically ambitious films like ‘In the Mood for Love’ and ’2046,’ is taking on Yip’s story and cinephiles are already anticipating (and questioning) the results.

Imagine if David Lynch actually helmed ‘Return of the Jedi’ as planned or Shane Carruth tackled the next Batman reboot – that’s how fans are reacting to Wong working on this kind of material. Granted, he’s brought along ‘The Matrix”s amazing wire fu genius Yuen Woo-ping to give the fighting its ambitious authenticity, but it still seems strange for the auteur responsible for ‘Chungking Express’ to tackle a traditional action effort like this. Of course, one view of the latest trailer for ‘The Grandmaster”s impending U.S. release argues that Wong is working well within his own creative comfort zone.

Dang! John Woo wishes he could use as much slo-mo as Wong utilizes here and stars Tony Leung (as Yip) and Zhang Ziyi (of ‘Crouching Tiger, Hidden Dragon’ fame) appear perfectly content to mix it up in carefully choreographed fight scenes. Not much of the story is hinted at here (supposedly, the narrative focuses on the master’s life from the ’30s to the ’50s) just rainy backdrops, flying fists, and somber snowfalls. Critics have been complimentary (the movie was released internationally earlier this year) but with Western audiences looking for more bang for their buck, one wonders if Wong’s aesthetic will earn respect or rejection. We’ll have to wait until The Weinstein Company opens the movie in theaters August 23rd to find out.
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PostPosted: Mon Jul 22, 2013 11:13 pm    Post subject: Reply with quote

Wong Kar-Wai promotes The Grandmaster at Comic-Con in San Diego.

Weinstein Co., Wong Kar Wai Taking ‘The Grandmaster’ To Comic-Con
By THE DEADLINE TEAM | Friday July 12, 2013 @ 4:56pm PDT

http://www.deadline.com/2013/07/hot-trailer-the-grandmaster/

If Metallica can rock Comic-Con, why not Wong Kar Wai? The Weinstein Co. is bringing the director to the annual San Diego pop culture confab for promo duties and to host the first US screening of the pic about martial arts legend Ip Man, which TWC snapped up hours before it opened the Berlin International Film Festival. Tony Leung stars in The Grandmaster as the man whose exploits include famously training a young Bruce Lee. Wong co-wrote the actioner, whose exec producers include Megan Ellison of Annapurra Pictures. Your fight coordinator is Yuen Woo-ping (Crouching Tiger, Hidden Dragon, The Matrix, Drunken Master), which means plenty of high-speed and slo-mo action. Zhang Ziyi, Chang Chen and Zhao Benshaw co-star in the pic, which smashes its way into theaters August 23. TWC’s Comic-Con premiere is set for Saturday July 20th at midnight at the Reading Gaslamp 15. Here’s the new trailer:

《一代宗師》亮相聖迭戈漫展 王家衛重剪
北京新浪網 (2013-07-22 17:56)

在中國公映半年後,導演王家衛執導的功夫大片《一代宗師》終於在北美亮相。

  當地時間20日,《一代宗師》的北美髮行商韋恩斯坦公司在大片雲集的2013聖迭戈動漫展上為影片舉行午夜首映,王家衛親自到場助陣。

  聖迭戈動漫展向來是各大影視公司的必爭之地,《超凡蜘蛛俠2》、《復讎者聯盟2》都在動漫展上設有展台。此次韋恩斯坦公司在動漫展為《一代宗師》造勢,可見對該片極為重視。此外,《一代宗師》在動漫展上不僅有讓觀眾先睹為快的展映環節,更契合動漫展主題繪製了生動有趣的漫畫簡介,可謂用心。

  有消息稱,此次在動漫展上放映的《一代宗師》是經過王家衛重新剪輯的「國際版」,不但比國內公映版本時長多出10分鐘,而且在細節上也有諸多調整,也是王家衛本人所認為的「兩小時里最好的版本」。

  據悉,《一代宗師》將於2013年8月23日在北美正式上映,韋恩斯坦公司之前曾透露過會對影片進行大範圍公映,雖然目前尚不清楚公映規模具體如何,但這將是王家衛電影首次在北美市場的大規模上映。

  文/記者 張婷婷

詳全文 《一代宗師》亮相聖迭戈漫展 王家衛重剪-娛樂新聞-新浪新聞中心 http://news.sina.com.tw/article/20130722/10207923.html

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王家衛回看“尋找一代宗師”之路:我還是我
http://www.chinareviewnews.com

中評社香港7月18日電(記者 廖梓達)有人說,籌備和拍攝一部電影《一代宗師》,王家衛前後花足10年。“世間所有的相遇,都是久別重逢。”電影中的這句話像是王家衛說給自己聽,也像是說給觀眾聽。這部王氏美學滿溢的作品是如何誕生,拍攝背後都有哪些故事,由王家衛本人來說,最是精彩。17日,王家衛聯同有份參與《一代宗師》劇本創作的台灣作家張大春,現身第24屆香港書展,與大家分享“尋找一代宗師”之路。

  功夫就是時間 電影記錄時代

  在這場分享會上,王家衛說,功夫的內涵就是時間,每部電影都在記錄一個時代。這部電影記錄的不只是功夫,這部電影也已不是一部武俠片,而是一個關於武林、關於時代的故事。電影鏡頭從清末拍到民國,到北伐到抗日,再到內戰和上世紀中的香港,“這是中國武術發展的高峰時代,如果政權穩定的話,武林就不會那麼活躍了。”王家衛說,這也就如同人生,“你沒有經過黑暗的時候,就不會覺得一盞燈有多亮。”

  王家衛坦言,這部電影從發想到拍攝就已經花去數年時間。最初,他到張大春的家裡,與他聊劇本,在三年的時間裡,每次見面在最後都變成一次對談。兩個人時而一同看書,時而坐下交談,天馬行空、天南地北地聊,整個關於劇本的交談記錄和交流經驗就能出一本精彩的書。

  而在最後集結成冊的有關《一代宗師》的書中,王家衛也提到,“我看的已不是一個人、一條街,而是一個時代。”對“功夫”二字,王家衛的理解是,“你要做好一件事,就要花一點工夫和時間。”他說,時間是一個切身的命題,很多人都希望時間能夠停頓、可以變樣,或者重回,而拍電影最讓他著迷的地方就在於,“從來沒有一個職業可以讓人在一生裡面經歷很多不同的時代和不一樣的人生。

Pictures of Wong Kar-Wai at 24th Chinese Book Fair in Hong Kong.



故事有留白 “等待”被填充

  《一代宗師》上映後,有些觀眾覺得影片故事敘事混亂且留白太多,故事交代不完整。而在最後集結成冊的書中,很大一部份的內容在電影中也並沒有出現。對此,張大春回應說,王家衛和他的很多設想到最後都沒拍出來,這部電影,包括其中的故事、最後集結的書,以及劇中的角色實際上都在詮釋著一個“等待”的概念。

  “當我們在敘述一個故事的時候,很多內容可能已經和原有的想法略有差異了,”張大春說,“當你用盡了工夫,花盡了時間,可能你期待的理想和目標(到最後)都沒有辦法得到一個答案和結果,(因為)人生就是一個漫長的、沒有目的的等待。”

  張大春接著說:“王家衛想到了卻沒有在書中和電影中展現的故事,在座的某個人如果感受到了,也許就有機會把它寫成另一個故事。”

  王家衛也說,在創作的過程中,有的故事在完成之後,未必能夠馬上得到下一個故事的補充和延續,但是,“有一天,可能那個故事會來找你。”



電影帶回傳統 武術精神猶在

  王家衛的《一代宗師》講的是詠春高手葉問及一眾武術家的傳奇故事,與其它很多講述葉問的電影不同,王家衛的版本少了很多民族的大義,卻有了宗師的一生,言說著武術的傳承。

  王家衛說,在電影上映之後,他發現香港很多人又開始關注傳統武術的發展,梳理從早期到現在的武館和武林故事。雖然,傳統武術在當代的生存空間愈發狹窄,但是電影能夠帶來大家觀念的變化、引領大家的關注,讓他感到高興。他認為,電影裡的一些設定和那個時代的人對於武術的投入,在現在已經很難再現,“但是,武術精神在現在依舊寶貴。”

  武術在台灣的生態可能要相對理想一些,張大春說,傳統武術根據不同的脈絡還在台灣延續,看似武林的概念依然存在。但是,“武林的概念(在現在)還是想像的成份居多。”他說,“武術現在(在台灣)既有宗教性、民俗性,也有秘密結社的兄弟情誼。”

  在對話會的最後,有現場讀者問王家衛,《一代宗師》似乎不如他以前的電影美,好似有了一個風格的轉變。王家衛反說,這其實是個人解讀的問題,在他看來,每本書、每部電影都如同家裡的一本相簿,記錄著某個時刻,代表著某個年代某個年月的經驗,一部電影現在看可能不美,但是以後再看可能就有變化。“每部電影都代表我在某一個年月想要做的事,”他最後說,“我還是我。”

  香港夏季重頭節目書展於17日在會展中心正式開幕。一連七日的本屆書展以“從香港閱讀世界-閱讀‧令世界美好”為主題,邀請到香港著名作家陳冠中擔任“年度作家”。除邀得張大春與國際知名導演王家衛對談外,來自中國內地的王安憶、安意如;台灣的席慕蓉、舒國治;香港的李歐梵、潘國靈等也將會與讀者進行近距離互動交流。

http://www.chinareviewnews.com/doc/1026/3/5/2/102635260.html?coluid=1&kindid=0&docid=102635260&mdate=0718012018


Last edited by Sandy on Sun Jun 22, 2014 10:34 pm; edited 6 times in total
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PostPosted: Mon Jul 22, 2013 11:15 pm    Post subject: Reply with quote

Just so folks might be busy. Try these online translators (which comes in multiple languages).

http://translate.google.com/
http://www.bing.com/translator/

Both of these links will work. For those who had trouble understanding, try to use these links.

On Google translate, either type text or a website address or translate a document. Follow the instruction... http://translate.google.com/
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PostPosted: Mon Jul 22, 2013 11:33 pm    Post subject: Reply with quote

香港書展的文化和能量:誠實、張揚百花齊放

Annual Hong Kong Book Fair - opening for one week, from 7/17-23. It attracted lots of people as seen in the pictures.

http://www.chinareviewnews.com/doc/1026/3/4/3/102634387.html?coluid=7&kindid=0&docid=102634387


  
中評社香港7月17日電/香港書展又開幕,第24屆了,雖名香港,卻又已經超越了香港地域而成為兩岸三地的華文閱讀事件。

  總是這樣的,站在香港的角度看,總能看見如此或如彼的不足與遺憾,尤其今屆書展的幕後班子換了人手,操作起來,有著如此或如彼的不熟悉和小失誤,難免,但香港精神是學習得快,相信到了明年,假如不再換人,應可有著顯著的長進。

  而從內地和台灣的角度看,香港書展早已成為崇拜與羨慕之物,是其文藝青年和出版業界必來參加的活動,每年一度,從不缺席。

  不相信的話,上網看看。看看台灣和內地的微博與臉書,只要談及香港書展,經常有人將之跟兩岸對比,然後發出“能不能學學香港書展”之類感慨與呼籲,希望兩岸書展有以看齊。

  (一)看齊什麼?

  一是多元,百花齊放; 二是熱鬧,氣氛張揚; 三是效率,人流旺順。這都是兩岸書展所欠缺的香港特色。

  內地書展以不同城市為運作單位,全由官方或“擬官方”經營操控,欠缺自由空間,這位作家不准請,那個議題不准談,加上出版社與官方權力糾纏嚴重,主題和內容便都傾斜於某些少數出版集團。而且,內地書展幾乎全部是“業界書展”,偶有對外公開的部分,亦搞得甚為馬虎,搞幾場大堆頭論壇,每人講幾句,便算了,現場攤位擺設更是或簡陋,燈火昏暗,通路不通,進去即感倒胃口,難以引發民眾的強烈興趣。

  至於台灣的書展,官方主導,民間操作,以招標形式委托不同的基金會主責策劃,每三或五年一換,基金會背後首腦是出版社老板,成員亦是資深文化人,本來非常內行,但一來文化人之間各有山頭,派系分明,不自覺地有了這群作家便沒有那群作家,開放度不足;二來則常擺不脫文化人的偏頗口味,從自身的閱讀取向出發統策書展,結果,活動內容往往狹窄而離群,變成”自己的書展”而不是大眾的書展,場面由是一年比一年冷清。

  香港書展則像茶餐廳,多元包容,高低並蓄,由專業的展覽策劃者包辦 logistics,這是港人強項,用最少的成本發揮最大的效益,再交由不同的文化和傳媒組織,例如《亞洲週刊》,策劃包羅萬有的演講活動。加上有自由精神打底,那麼,像茶餐廳有鵝肝也有牛腩河,香港書展亦有王安憶也有某某某,七天盛事,只要進場,總能如你所願有你所喜。

  書展七月,香港的夏天總夠熱鬧。



  (二)最誠實的書展

  今年是第24屆香港書展,估計將有八、九十萬人次觀眾參與,而江湖一直傳說,其實早就超過一百萬了,只不過主辦單位故意把數字壓低,以免觸犯消防安全條例; 一百萬是一條分界線,在此以上和以下的防火安全措施極不相同,主辦單位精明,棄高取低,節省成本。

  江湖傳說向來只宜姑妄聽之,但不管是一百萬抑或八十萬再或六十萬人次,即使撇除了南來遊客,仍屬可觀,足以反映香港社會百態的某些側面。若純以人口比率計算,香港書展想必是兩岸三地最具規模和最有人氣的華文書展,這樣的活動出現於這樣的城市,到底傳達著什麼訊息?

  當然有人傾向從陰暗的角度出發評論,譬如說,只因香港根本沒有足夠的好書店,香港人始會於一年裡的一個星期內擠去買書;又如說,只因香港人在平常日子裡根本不買書也不看書,所以這一年的這一個星期,即使參觀書展,亦只是凑高興、看熱鬧,跟實質閱讀的關係不大;再如說,只因香港人跟書展主辦單位一樣的精明,香港出版社亦很靈活,這一年的這一個星期遂成為庫存書本的殺價催銷周,七折六折五折甚至十元一本,盡快出清存貨,賣的高興,買的更高興,買賣雙方各得其所,能賣出的都不見得是好書。諸如此類,都對香港書展的文化價值不太重視。



  真的嗎? 真的只是這樣?

  是的,所謂陰暗角度不一定不正確,只不過顯然不足以全面理解香港書展的意義與重量。這樣思考好了:如果香港確是一個閱讀冷漠的城市,每年有七天要把接近七分之一人口吸引追場,實在需要非常準確而犀利的文化行銷本領,而於進場之後,難道觀眾就真的不會受到文化感習和拓寬視野? 

  別忘了香港書展每年售書數百萬册,雅俗兼容,而且每年例必有一兩百場的演講論壇,從出版專業的內部研討到文學名家的議論縱橫,以至明星出書和嫩模簽名,多元混雜,總不應該被視而不見或存而不論。從莫言到李敖,從張大春到朱天心,從詹宏志到王安憶,從韓寒到九把刀,皆曾在香港書展登台說藝,每場聽眾皆有兩三百人甚至逾千之多,難道這些活動都不算數? 都不被計入香港書展的活動成績單之內? 

  每年七月,當男男女女老老少少牽拖著行李箱到香港書展看書購書,總有不同的動機和理由,而又總會在眾聲喧嘩裡偶遇他們從沒期待的書本和活動,由是開展了眼界、延伸了趣味,由是在往後的日子裡找尋他們先前從沒想過自己會閱讀的第二本書、第三本書,以至於第N本書。更何況,兩岸文化人和文青都來了香港書展,他們碰頭,他們談事,許許多多的合作念頭由此萌芽衍生,這是既無形亦具體的文化爆發力,亦是香港書展的關鍵文化能量。

  其實認真地、全面地看待書展的真面目,等於認真地、全面地看待香港社會的文化取向和閱讀需要。香港書展很可能是兩岸三地裡“最誠實”也“最自在”的書展,坦然面對讀者分殊,不避俗,不賣弄,自由包容,是香港核心價值的折射映照。開幕了,今天,香港書展。如果你剛好身處香港,總有去逛的理由。

  (文章來源:騰訊網 作者:馬家輝)


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PostPosted: Mon Jul 22, 2013 11:35 pm    Post subject: Reply with quote

Take a look at the crowds of people who visited the Hong Kong Book Fair.

http://hkbookfair.hktdc.com/
http://www.discoverhongkong.com/tc/see-do/events-festivals/exhibitions-and-consumer-fairs/hong-kong-book-fair.jsp
http://www.google.com/search?q=%E9%A6%99%E6%B8%AF%E6%9B%B8%E5%B1%95&um=1&ie=UTF-8&hl=en&tbm=isch&source=og&sa=N&tab=wi
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香港書展為何這麼火?

2013年07月21日 09:03:20 來源: 人民網

http://big5.xinhuanet.com/gate/big5/news.xinhuanet.com/gangao/2013-07/21/c_125040309.htm

火熱的七月,火熱的香港,迎來了年年如此火熱的書展。開幕前兩三天,灣仔地鐵站、會展中心一帶人行天橋早已設好路標,宣告著這場夏日盛宴的來臨。

  書展第一天,數以萬計的讀者從四面八方涌入會展中心,來自25個國家和地區的560家參展商,已經布置好攤位。據說今年入場讀者將破100萬人次,也就意味著7個香港人中就有1人來書展。

  香港書展這麼火是因為香港人愛看書嗎?其實,有調查發現,香港一年只有四成人讀過一本書,還有調查說,香港四成人根本沒有讀書的習慣,不管怎樣,都說明香港閱讀風氣很糟。在香港地鐵上、公車上幾乎人人拿著智能手機或者ipad玩遊戲、看新聞,卻沒有人看書。那為什麼每逢書展,就有七分之一的香港人過來買書?香港文化人梁文道分析說,有點像過年的花市一樣,即便你平常不養花,過年你也一樣會去;一個人平常可能不讀書,書展也會來。

  如此看來,逛書展就像參加嘉年華嗎?不盡然。兩岸三地書展並不少見,臺北書展、上海書展、北京書展,單從人數上看,香港書展百萬人次的入場讓它成為華人世界不可取代的書展,也讓它成為香港獨特的城市名片。

  這與香港書展井然有序的管理分不開,內地作家王安憶第一次參加完香港書展後就感慨,為什麼10萬多平米的書展現場一切都有條不紊?會展中心方圓幾公裏之內的路標、會場內的指引,只要你識字,不用問人就可以順利地找到想去的地方。當然,沿路都站著書展的工作人員,他們會耐心地回答你各種問題。人流疏導、交通、郵寄、飲食等細節都體現著香港書展的專業服務。

  香港書展自1990年開辦以來,規模聲勢是一年大過一年,早已加冕“華人世界第一書展”的盛名。香港書展如此熱鬧,當然離不開其成熟的商業運作模式。每年書展開幕前幾個月,兩岸三地各大城市相繼上演“香港書展巡回路演”,讀書會、名人講座等活動不僅推廣了文化互動,更為書展的聲勢做好了鋪墊。陳坤、林青霞、韓寒等各路名人的出席進一步吸引人流,香港本土學者梁文道、馬家輝更是從沒有缺席過書展。今年書展頭炮講座,王家衛、張大春、馬家輝談“一代宗師”,偌大的會議廳座無虛席,有觀眾看完後形容“身體的每一個毛孔都被打開”。由此可見,成熟的商業運作為文化的交流提供了穩定平臺。

  更有趣的是,就如奧斯卡頒獎典禮,明星爭相走紅毯一樣,每年書展,各路媒體唯恐缺席。走入會展中心,胸口挂著媒體工作證的目測不下千人,名人講座的前幾排基本是媒體人員,就連講座問答環節,第一句都是“我是來自XX媒體的記者”,記者們借著提問機會挖掘獨家新聞。各大報紙網站都大篇幅報道香港書展盛況,形成良性循環,進一步擴大了香港書展的影響力。

  這座被成為“文化沙漠”的城市,一個書展足以撕掉這個標簽。作家王安憶在今年書展提到,網絡的發展消解了文學的神聖性,我們是否可以說,香港書展重構了閱讀的神聖性,從四面八方趕來的讀者如同來朝拜的人們。不論說書展是一場儀式,抑或是一個成熟的商業運作范本,我們可以肯定的是,透過書展這個自由開放的平臺,大家在這裏閱讀和思考,就像今年書展主題所說“閱讀令世界更美好”。

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記者手記:買賣間築基文化的香港書展
2013年07月19日 08:27:50

http://www.chinesetoday.com/big/article/770432

新華社香港7月19日電(記者牛琪)19日,第24屆香港書展進入第三天,市民和遊客的購書熱情正逐漸釋放,預計破百萬人次的入場數將令以零售為主的書展獲得更多經濟效益,而其構建的文化價值,卻遠不止此。

據統計,1990年創辦的香港書展在當年僅有149家參展商,展期4天,參觀人次約20萬。2012年,香港書展入場人次已達90餘萬,展期7天,平均每人購書近600港元。

大眾化的定位、雅俗相容的圖書品類、打折兼促銷的定價策略,催生了香港一年一度的購書季。幾乎風雨無阻,無論年齡性別,書展總是人頭攢動,熙熙攘攘。

與此同時,更重要的變化也在發生。24年來,一種到書展感受文化的習慣在香港逐漸形成,書籍買賣早已不再是唯一內容。

自2001年起,香港書展便開始推出一系列文化及推動閱讀的節目,打造暑期香港文化閱讀活動周;2005年,香港書展邀請兩岸三地知名作家來港與讀者見面並舉行講座;到2013年,文化活動已多達400項,300位來自不同界別的作家及講者將積極參與。

這種築基於商業行為之上的文化氛圍值得觀察。某種程度上說,它取決於組織者的理念與規劃。正如香港貿發局副總裁周啟良所言,書展的目標並非追求數字增長,而是期望通過它讓讀書文化走入社會,掀起熱愛閱讀的風氣。

營造風氣必然需要多方面支援,謀劃組織與商業配合之外,讀者的興趣至關重要,如何調動讀者對文化的熱情,恰是香港書展值得借鑒之處。



僅以本屆書展為例,除邀請張大春、王家衛、王安憶、席慕蓉等人就讀者感興趣話題演講外,“衛斯理五十週年展”和“人間凈土——走進莫高窟”數位展示也是主辦方特別安排的內容。再加上國際出版論壇和香港小說跨媒體創作大獎等,多種形式與介質的穿插互動,顯然更能調動讀者胃口。

書展的物理範圍甚至也並非局限於一地。17日-23日,香港15個地區都將舉辦各類文化活動,超過120項活動遍及大型商場、咖啡室、大專院校、圖書館、博物館及書店等地。

反觀內地書展與書市,儘管同樣已形成若干品牌,文化格局卻仍稍顯狹窄。即便如延續20多年之北京地壇書市,也未能更好完成其文化使命。

由此看來,姑且不論組織程度與涵蓋範圍,如何在經濟行為基礎上拓寬文化份額,並最終達至書籍融入生活,香港書展值得業界尊重與借鏡。(完)


Last edited by Sandy on Sun Jun 22, 2014 10:53 pm; edited 2 times in total
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