Date: 5th January, 2019 (Sat)
Time: 17:00-18:00
Venue: 4/F, Pao Galleries, Hong Kong Arts Centre
Language: English
Speakers:
Dr. Bidisha Banerjee, Dr. Zoran Poposki, Prof. Kathleen Ahrens
Dates: 15/10, 22/10, 29/10, 05/11 (Mon)
Time: 18:15 – 21:30
Venue: D2-LP-05, Tai Po Campus, EdUHK
Language: (film) Japanese/Cantonese/Mandarin/English/Penang Hokkien/Tagalog with English subtitles; (post-screening discussion) Bilingual – Chinese & English
The Centre for Popular Culture in the Humanities (CPCH) is looking for fellow movie lovers at EdUHK, who enjoy viewing and analyzing films, and would like to help this platform grow. The upcoming film salon with the theme“Stories of Faimly, Stories of Self” will begin on 15/10 (Monday) with After the Storm by Japanese director Koreeda Hirokazu. For the films that follows, please refer to the following:
這是由學生所策劃的電影沙龍，現邀請教大電影愛好者逢星期一與我們一起欣賞和分析電影。本次電影沙龍的主題為「從家族故事中尋找自我」，我們將首先於 10 月 15 日（星期一）放映由日本導演是枝裕和所執導的《比海還深》，而往後之片單則詳列如下：
1. After the Storm(Japan) by Koreeda Hirokazu | 是枝裕和，《比海還深》（日本）
2. Song of the Exile (Hong Kong) by Ann Hui | 許鞍華，《客途秋恨》（香港）
3. You Mean the World to Me(Malaysia) by Saw Teong Hin | 蘇忠興，《海墘新路》（馬來西亞）
4. Ilo Ilo (Singapore) by Anthony Chen | 陳哲藝，《爸媽不在家》（新加坡）
After the Storm《比海還深》
Dwelling on his past glory as a prize-winning author, Ryota (Hiroshi Abe) wastes any money he makes as a private detective on gambling and can barely make ends meet or pay child support for his son. He makes extra money by offering his own services to the detective agency’s clients, in the name of “getting inspired.” After the death of his father, his aging mother Yoshiko (Kirin Kiki) seems to be moving on with her life with hobbies with the local elderly ladies. Ryota is trying to get back with his ex-wife Kyoko (Yoko Maki), who has grown tired of Ryota’s excuses for his continual failure to pay child support and threatens to stop letting him spend time with their young son, Shingo (Taiyo Yoshizawa). Ryota is aware that Kyoko has a new boyfriend and fears her remarriage will end his relationship with Shingo. In a stormy summer night sheltered at his mother’s home with his family, Ryota attempts to take back control of his existence and to find a lasting place in Shingo’s life.
雙失中年良多(阿部寬 飾)自十五年前拿過文學獎後就陷入創作危機，沉迷賭博，現在淪落到兼職做偵探，自欺欺人說「為小說找靈感」，其實是搵兩餐。在屋邨獨居的老媽(樹林希林 飾)眼見兒子鬱鬱不得志，不禁傷感，但仍對他抱有希望。良多唯一的幸福，是每月一次與兒子的會面。當他發現前妻(真木陽子 飾)有了新男友後，他更渴望跟妻兒破鏡重圓。一夜颱風突然殺到，四口子被迫重聚屋簷下，四分五裂的家在暴風雨後有何領悟？本片入圍康城影展「一種關注」單元。
Hirokazu Kore’eda 是枝 裕和
Hirokazu Kore’eda is a Japanese film director, producer, screenwriter, and editor. He began his career in television and has since directed more than a dozen feature films, includingNobody Knows (2004), Still Walking (2008), and After the Storm (2016). He won the Jury Prize at the 2013 Cannes Film Festival forLike Father, Like Son and won the Palme d’Or at the 2018 Cannes Film Festival forShoplifters.
是枝裕和，日本電影導演、編劇、製作人，早年從事記錄片拍攝，題材多具社會關懷、充滿人文主義色彩，第一部劇情片─《幻之光》（1995），使其獲得威尼斯影展最佳導演獎，《無人知曉的夏日清晨》（2004）、《橫山家之味》（2008） 使其藍絲帶獎最佳導演，《我的意外爸爸》（2013） 獲得坎城影展評審團獎，其新作《小偷家族》（2018）入選第 71 屆康城影展主競賽片項目，最後獲得金棕櫚獎。
No registration required and we look forward to seeing you at the salons soon.
*All sessions are intended for purposes of giving or receiving instruction through film analysis and commentary among students and teachers.
The Centre for Popular Culture in the Humanities at The Education University of Hong Kong is proud to announce that Hong Kong’s first ever One City, One Book initiative will be hosted during the 2018/2019 academic year.
One City One Book Hong Kong （我城我書）is a community reading programme which aims to encourage as many people as possible, to read and discuss a single book at around the same time. Each year students, scholars, and readers of all kinds will focus their attention on one single book. A series of activities related to the chosen book will be held around Hong Kong, including discussions of the book and its themes, along with exhibitions, film screenings, school events, book discussions, author visits, cultural performances, library events, and so forth. The goals of the initiative are to build a sense of community and promote reading, discussion, and civic engagement. To get started, see below for this year’s book!The book chosen for the first ever One City One Book initiative in Hong Kong is The Arrival (2006), a wordless graphic novel by the Chinese Australian graphic novelist Shaun Tan.
Please visit onecityonebook.hk for further details. Should you have any inquiries, please do not hesitate to contact us at oncecityonebook@eduhk.hk.
We regret to inform you that the captioned talk is cancelled. Dr. Mallot was scheduled to arrive in Hong Kong over the weekend. He has had to cancel his ticket because of the approaching super typhoon.
“I Used to be Human Once”: Disability in Contemporary Indian Writing
Date: 19 September 2018 (Wednesday)
Time: 12:30 – 14:00
Venue: B3-P-04, Tai Po Campus, The Education University of Hong Kong
Abstract
How does disability studies impact postcolonial discourse? How do postcolonial writers address differently-abled subjects? This talk seeks to illuminate and interrogate the intersections – fruitful and fraught – between these fields, covering a wide range of texts but paying particular attention to Mahesh Dattani’s Tara (a play about conjoined twins) and Indra Sinha’s Animal’s People (a novel about the 1984 Bhopal disaster). As South Asian disability rights advocates struggle to achieve more legal rights and more practical modes of accessibility, writers have repeatedly turned to differently-abled protagonists, with mixed intentions and varied results. At the center of this hotly debated discourse lies a central, uncomfortable question: what does it mean to be “normal”? What, in some cases, does it mean to be “human”?
Bio
J. Edward Mallot is an Associate Professor of Postcolonial Studies at Arizona State University. His book Memory, Nationalism, and Narrative in Contemporary South Asia was published by Palgrave Macmillan. He has published on a wide range of postcolonial and transnational authors, including Amitav Ghosh, Shauna Singh Baldwin, Michael Ondaatje, Romesh Gunesekera, Kamila Shamsie, Nathaniel Mackey, and Karen Tei Yamashita, among others.
All are welcome and no registration is required. Please send any enquiries to Mr. Manni Cheung at 2948 7360 or via email cheungml@eduhk.hk.
Thinking-with Bark: Activating a postdevelopmental logic in early childhood education
Mindy Blaise, Professor, Early Childhood Education, Victoria University, Melbourne, Australia
15:30 – 17:00, 19th April 2018
B3-LP-04, Tai Po Campus EdUHK
This paper sets out to challenge the developmental logic that works hard to tame, simplify, and control young children’s learning. As a challenge to this kind of logic, I have been conducting a long term multisensory and affect-focused inquiry of children’s relations with place. Weekly I go walking with a group of children and their teachers to Stony Creek, located on the lands of the Kulin Nations people in Melbourne, Australia. By paying attention to children’s relations with Eucalyptus trees, we created the Bark Studio as a place for experimentations and provocations.
In the Bark Studio we have been wondering about bark movements and ask, “How does movement let knowing happen?” We are intrigued with this question because it challenges the idea that knowing presupposes what is to be known, or that knowing presupposes the subject.
By thinking with movement, movements of thought, and bark materiality, I show how bark movements put into motion the relational potential of the bark. Several encounters with bark, wind, and water will be explored. I will explore how teachers and young children are putting thinking into movement and movement into thinking and how this makes room for relational complexity. I argue that relational complexity activates a postdevelopmental logic that unleashes, complicates, and opens-up learning in early childhood education.
Professor Mindy Blaise’s interdisciplinary research involves bringing together the environmental humanities and early childhood education to generate postdevelopmental pedagogies for the Anthropocene. She provokes teachers to challenge human exceptionalism and ‘make room for the more’ to generate ethico-political practices for living well together in these uncertain times.
Dear Movie Lovers,
We will continue our CPCH film salon next Wednesday (11/4) with Good Men, Good Women 《好男好女》by Taiwan-based director HOU Hsiao-Hsien. In this series, we will show movies from Hong Kong and Taiwan featuring social struggles in both regions during the 1990s and 2000s. Please refer to the following for details of our first screening:
Good Men, Good Women《好男好女》
Date: 11 April 2018 (Wed)
Time: 18:15 – 21:00
Venue: D1-LP-06
Language: (film) In Mandarin, Taiwanese, Cantonese, and Japanese with English subtitles.; (post-screening discussion) Bilingual – Chinese & English
Synopsis (trailer)
Hou’s multi-layered masterpiece is the third film (after A City of Sadness and The Puppetmaster) in his remarkable trilogy of historical epics. Annie Shizuka Inoh (Annie Yi) plays Liang, an actress preparing for the lead role in a film about Chiang Bi-Yu, a heroine of the anti-Japanese resistance of the 1940s who was imprisoned as a subversive in the 1950s during the repressive “White Terror,” Taiwan’s version of the red scare (and a once-taboo subject). Liang receives an unwelcome reminder of her own troubled past when someone starts faxing her pages from her old diary. Hou’s bold film operates in three tenses: Liang’s present, her remembered past (rendered in vivid, vibrant colour), and her mind’s-eye imaginings of the film she is about to make (shot in rich black-and-white). In Mandarin, Taiwanese, Cantonese, and Japanese with English subtitles.
About the director
Of the ten films that HOU Hsiao-Hsien directed between 1980 and 1989, seven received best film or best director awards from prestigious international films festivals in Venice, Berlin, Hawaii, and the Festival of the Three Continents in Nantes. In a 1988 worldwide critics’ poll, Hou was championed as “one of the three directors most crucial to the future of cinema.”
Full Schedule of Film Salon on Social Struggles in Hong Kong & Taiwan
- 11/4 (Wed, D1-LP-06) Good Men, Good Women《好男好女》(dir. HOU Hsiao-Hsien 侯孝賢, 1995)
- 16/4 (Mon, D1-LP-03) The Rice Bomber《白米炸彈客》(dir. CHOI Li卓立, 2014)
- 18/4 (Wed, D1-LP-03) From the Queen to the Chief Executive 《等候董建華發落》(dir. Herman YAU邱禮濤, 2010)
- 25/4 (Wed, D1-LP-03) Ordinary Heroes《千言萬語》(dir. Ann HUI許鞍華, 1999)
No registration required and we look forward to seeing you at the salon soon. All sessions are intended for purposes of giving or receiving instruction through film analysis and commentary among students and teachers.