All's Right With the World 歌舞昇平
Director 導演: King Wai Cheung 張經緯 Blog http://c3kings.blogspot.com/ 查閱近期放映資訊
Running time 片長: 73 min
Format 格式: DVCPRO HD
Screening format 比例: 16:9
Background 背景
No country in the world is without poverty, capitalist or communist. Affluent Hong Kong is one of the largest financial centers around the world.
According to a 2006 research by the World Development and Economy Research Institute of UN University in Finland, 1% of the richest adults in the world own 40% of global wealth, while the poorer half of the global population merely owns 1% of total wealth. In Hong Kong, the wealth gap the 5th highest globally.
The strange thing is that Hong Kong has no local beggars, merely those bold beggars from the mainland. No one begs, not even an 80-year-old collecting cardboard. Only the mad begs for money. The poverty in Hong Kong is hidden and secretive, as if poverty is a shame. The government builds beautiful public buildings for low-income residents, with big gardens and stores, as if Hong Kong has no poor people. Does Hong Kong have poor people? Why is poverty not seen?
Peaceful and prosperous, this kind of surface richness doesn’t mean each Hong Kong residents has access to wealth.
So, what’s the life like for Hong Kong’s paupers?
世界上沒有一個國家是沒有貧窮的，無論在資本主義或者共產主義的社會，都有窮人，香港物質富庶，更是全世界最大的金融中心之一。位於芬蘭的聯合國大學世界發展經濟研究所，2006的一分研究顯示，世界上1%最富有的成年人口擁有40%的全球家庭財富，而全球較窮的一半人口，只擁有1％的財富。我們的香港，貧富懸殊的嚴重程度位列全球第五。
奇就奇在香港沒有本地乞丐，有的都是內地丐幫明目張膽的鋪張，弊到要八十歲撿紙皮的，都沒有要飯的，除了瘋了的。香港的窮，窮得很隱蔽，窮得很鬼祟，好像窮的都見不得光。政府給低收入人群建立的公共房屋都會很漂亮，有很大的公園、商場，好像看不到普通意義上的窮人。香港也有窮人嗎？為什麼看不到貧窮？
太平盛世，歌舞昇平，這種社會表層的好，不代表每個香港人都可以享受到。香港的貧民是怎樣的一個生活狀態呢？
Story 故事
All’s Right with the World describes a few families in Hongkong. Their tragic fates are different in approach but equal in effects, making the audience wander who’s who and what’s the relationship between them when viewing the film. As a matter of fact, the sole relation is that all five families receive comprehensive subsidies, while each story has its own development. They may have different reasons to be poor and different living conditions, but they share a similar state of existence, almost accustomed and adapted to poverty. Their ways of celebrating the Chinese New Year is described, which have many differences and similarities to the typical New Year celebration.
在看《歌舞昇平》裏五個家庭的訪問時，發覺他們口中所提及自己的悲劇命運是如此的曖昧地異曲同工，令人在觀看時會想那是誰的誰，那人跟那人有什麼關系。但其實唯一的關聯是他們都是領取綜援的家庭。他們貧窮的理由或許不一樣，個人的故事都往不同方向發展，但他們卻都在一個十分相似的生活狀態，是殊途同歸地對貧窮的習慣和適應。影片裡穿插著他們的過農曆新年片段，又與一般的香港人過年有著難分難解的相同和不同。
Director’s Note 導演手記
As a child, when I looked out of my apartment, I saw a squatters' village. Every day on my way to school, I passed it and witnessed the horrible living conditions: tiny spaces with no toilet and as hot as a steamer during summer. The poverty at that time can easily be seen.
Times change. The squatter's village was demolished, the same space has become a residential complex with an air-conditioned department store, and the buildings are much taller than the one I have been living in. The poor have gone; no poverty is “seen” in Hong Kong any more.
Sure enough, the overall living standard in Hong Kong has drastically improved over the decades since then. Public housing estates with 30-storey-buildings and advanced facilities have replaced squatters' villages. The residential conditions of the poor have apparently improved. Yet, this is just on the surface.
Perhaps it is true, because on the outside, the clothes of the poor are no longer in tatters, yet on the inside -- the lives lived in these gorgeous public housing estates, the real scenes behind this "All's Right with the World" attitude, are overshadowed by a constant mental state of anxiety and scarcity. Not only poverty but also series of mishaps seem to pursue them. Is it just coincidence, or social inequality, or personal weakness? Why are their fates so miserable? And why are they unable to escape from their unfortunate destinies? A Chinese sage said, "Heaven and Earth are ruthless."
我記得小的時候，從我的窗戶看出去，有一大片的非法搭建的木屋和鐵皮屋，上學時都要經過這一塊。那裏的生活條件很糟，沒有廁所，夏天時更熱得像蒸籠。當時的貧窮是很形象化的。
時移事易，以前窗前的這塊貧民房屋已經改為一座比我住的房子還有高的大廈和一間冷氣充足的百貨公司。貧民不見了。香港再“看”不見貧窮。的而且確，香港整體的生活水準在這數十年中提高了不少，三十多層高的公共房屋附有先進文明的居住設施配套已取代了木屋區。貧民的居住情況改善了。但這其實只是表像。雖然貧民是不會再衣衫襤褸，但生活在捉襟見肘、憂心忡忡的精神狀態下的情況，仍在這些漂漂亮亮的大廈和歌舞昇平的社會中天天發生。不單只是貧窮，而且這些人的背後往往都有一堆不幸的故事，是巧合嗎？還是社會失衡所致？還是這些人都有一些相同個性上的弱點呢？天地不仁。
也許貧窮亦只是一個表面現象，更令我不安的是為什麼總有那麼多不幸的事發生在他們身上？而他們又為甚麼好像永遠也走不出這個苦難的困局呢？
Production Team 製作團隊
Director Profile
King Wai Cheung 張經緯 Blog http://c3kings.blogspot.com/
King Wai Cheung was born in Hong Kong. His ancestors are from Hubei Village of Shenzhen Guangdong. Cheung studied cello when he was young. He went to U.S. Brooklyn College and City University of New York to study music and other subjects. He graduated with a degree in film production and a minor in philosophy. He is the producer of 4 short fictional films and the supervisor of 1 short documentary film. Zhang’s works have won prizes at multiple international film shows. CARING IS HIP, his first feature documentary, will be completed soon. In addition, script God’s Apple, his first feature-length script, won Excellent Prize at the Mainland, Hong Kong & Taiwan Myth Script Creation Contest 2001, while his second script T.S.W was also awarded Best Story Prize at Hong Kong-Asia Film Financing Forum 2005. The film based on this script will begin production this summer with Xu Anhua as the director.
香港出生，祖籍廣東深圳湖貝村。年輕時，學習大提琴。及後，到美國的 Brooklyn College, City University of New York修讀音樂碩士課程，亦因此有機會接觸很多其他科目，最後主修電影製作、副修哲學畢業。曾製作4部劇情短片及監製1部紀錄短片，作品在多個國際影展中參展及獲獎。他的第一部長編劇情片劇本《上帝的蘋果》獲得「2001年中港臺電影神話劇本創作賽」優異獎，而第二個劇本《天水圍》亦獲得2005年香港亞洲電影投資會的最佳故事獎，此劇本由許鞍華導演。《歌舞昇平》是他第一部長篇紀錄片。
Film Festivals
电影节入围
媒體聚焦
Director 導演: King Wai Cheung 張經緯 Blog http://c3kings.blogspot.com/ 查閱近期放映資訊
Running time 片長: 73 min
Format 格式: DVCPRO HD
Screening format 比例: 16:9
Background 背景
No country in the world is without poverty, capitalist or communist. Affluent Hong Kong is one of the largest financial centers around the world.
According to a 2006 research by the World Development and Economy Research Institute of UN University in Finland, 1% of the richest adults in the world own 40% of global wealth, while the poorer half of the global population merely owns 1% of total wealth. In Hong Kong, the wealth gap the 5th highest globally.
The strange thing is that Hong Kong has no local beggars, merely those bold beggars from the mainland. No one begs, not even an 80-year-old collecting cardboard. Only the mad begs for money. The poverty in Hong Kong is hidden and secretive, as if poverty is a shame. The government builds beautiful public buildings for low-income residents, with big gardens and stores, as if Hong Kong has no poor people. Does Hong Kong have poor people? Why is poverty not seen?
Peaceful and prosperous, this kind of surface richness doesn’t mean each Hong Kong residents has access to wealth.
So, what’s the life like for Hong Kong’s paupers?世界上沒有一個國家是沒有貧窮的，無論在資本主義或者共產主義的社會，都有窮人，香港物質富庶，更是全世界最大的金融中心之一。位於芬蘭的聯合國大學世界發展經濟研究所，2006的一分研究顯示，世界上1%最富有的成年人口擁有40%的全球家庭財富，而全球較窮的一半人口，只擁有1％的財富。我們的香港，貧富懸殊的嚴重程度位列全球第五。
奇就奇在香港沒有本地乞丐，有的都是內地丐幫明目張膽的鋪張，弊到要八十歲撿紙皮的，都沒有要飯的，除了瘋了的。香港的窮，窮得很隱蔽，窮得很鬼祟，好像窮的都見不得光。政府給低收入人群建立的公共房屋都會很漂亮，有很大的公園、商場，好像看不到普通意義上的窮人。香港也有窮人嗎？為什麼看不到貧窮？
太平盛世，歌舞昇平，這種社會表層的好，不代表每個香港人都可以享受到。香港的貧民是怎樣的一個生活狀態呢？
Story 故事
All’s Right with the World describes a few families in Hongkong. Their tragic fates are different in approach but equal in effects, making the audience wander who’s who and what’s the relationship between them when viewing the film. As a matter of fact, the sole relation is that all five families receive comprehensive subsidies, while each story has its own development. They may have different reasons to be poor and different living conditions, but they share a similar state of existence, almost accustomed and adapted to poverty. Their ways of celebrating the Chinese New Year is described, which have many differences and similarities to the typical New Year celebration.
在看《歌舞昇平》裏五個家庭的訪問時，發覺他們口中所提及自己的悲劇命運是如此的曖昧地異曲同工，令人在觀看時會想那是誰的誰，那人跟那人有什麼關系。但其實唯一的關聯是他們都是領取綜援的家庭。他們貧窮的理由或許不一樣，個人的故事都往不同方向發展，但他們卻都在一個十分相似的生活狀態，是殊途同歸地對貧窮的習慣和適應。影片裡穿插著他們的過農曆新年片段，又與一般的香港人過年有著難分難解的相同和不同。
Director’s Note 導演手記
As a child, when I looked out of my apartment, I saw a squatters' village. Every day on my way to school, I passed it and witnessed the horrible living conditions: tiny spaces with no toilet and as hot as a steamer during summer. The poverty at that time can easily be seen.
Times change. The squatter's village was demolished, the same space has become a residential complex with an air-conditioned department store, and the buildings are much taller than the one I have been living in. The poor have gone; no poverty is “seen” in Hong Kong any more.
Sure enough, the overall living standard in Hong Kong has drastically improved over the decades since then. Public housing estates with 30-storey-buildings and advanced facilities have replaced squatters' villages. The residential conditions of the poor have apparently improved. Yet, this is just on the surface.
Perhaps it is true, because on the outside, the clothes of the poor are no longer in tatters, yet on the inside -- the lives lived in these gorgeous public housing estates, the real scenes behind this "All's Right with the World" attitude, are overshadowed by a constant mental state of anxiety and scarcity. Not only poverty but also series of mishaps seem to pursue them. Is it just coincidence, or social inequality, or personal weakness? Why are their fates so miserable? And why are they unable to escape from their unfortunate destinies? A Chinese sage said, "Heaven and Earth are ruthless."
我記得小的時候，從我的窗戶看出去，有一大片的非法搭建的木屋和鐵皮屋，上學時都要經過這一塊。那裏的生活條件很糟，沒有廁所，夏天時更熱得像蒸籠。當時的貧窮是很形象化的。
時移事易，以前窗前的這塊貧民房屋已經改為一座比我住的房子還有高的大廈和一間冷氣充足的百貨公司。貧民不見了。香港再“看”不見貧窮。的而且確，香港整體的生活水準在這數十年中提高了不少，三十多層高的公共房屋附有先進文明的居住設施配套已取代了木屋區。貧民的居住情況改善了。但這其實只是表像。雖然貧民是不會再衣衫襤褸，但生活在捉襟見肘、憂心忡忡的精神狀態下的情況，仍在這些漂漂亮亮的大廈和歌舞昇平的社會中天天發生。不單只是貧窮，而且這些人的背後往往都有一堆不幸的故事，是巧合嗎？還是社會失衡所致？還是這些人都有一些相同個性上的弱點呢？天地不仁。
也許貧窮亦只是一個表面現象，更令我不安的是為什麼總有那麼多不幸的事發生在他們身上？而他們又為甚麼好像永遠也走不出這個苦難的困局呢？
Production Team 製作團隊
- Presented by 出品: CNEX
- Producers 製片: Ben Tsiang, King Wai Cheung
- Director 導演: King Wai Cheung
- Executive Producers 監製: Chang Chao-Wei, Ruby Chen
- Adviser 顧問: Hui On Wah Ann
- Production Coordinator 現場製片及策劃: Yung Tsz Kwong
- Camera 攝影: Harry Lee
- Sound recording & Music composer 收音及音樂: Hidemi Gojo
- Editor 剪接: King Wai Cheung
- Production Assistant 製作助理: Wong Yu Ching
- Location HD files technician 現場高清檔案處理: Joe Ting
- Gaffer 燈光: Tam Tsz Kit
Director Profile
King Wai Cheung 張經緯 Blog http://c3kings.blogspot.com/
King Wai Cheung was born in Hong Kong. His ancestors are from Hubei Village of Shenzhen Guangdong. Cheung studied cello when he was young. He went to U.S. Brooklyn College and City University of New York to study music and other subjects. He graduated with a degree in film production and a minor in philosophy. He is the producer of 4 short fictional films and the supervisor of 1 short documentary film. Zhang’s works have won prizes at multiple international film shows. CARING IS HIP, his first feature documentary, will be completed soon. In addition, script God’s Apple, his first feature-length script, won Excellent Prize at the Mainland, Hong Kong & Taiwan Myth Script Creation Contest 2001, while his second script T.S.W was also awarded Best Story Prize at Hong Kong-Asia Film Financing Forum 2005. The film based on this script will begin production this summer with Xu Anhua as the director.
香港出生，祖籍廣東深圳湖貝村。年輕時，學習大提琴。及後，到美國的 Brooklyn College, City University of New York修讀音樂碩士課程，亦因此有機會接觸很多其他科目，最後主修電影製作、副修哲學畢業。曾製作4部劇情短片及監製1部紀錄短片，作品在多個國際影展中參展及獲獎。他的第一部長編劇情片劇本《上帝的蘋果》獲得「2001年中港臺電影神話劇本創作賽」優異獎，而第二個劇本《天水圍》亦獲得2005年香港亞洲電影投資會的最佳故事獎，此劇本由許鞍華導演。《歌舞昇平》是他第一部長篇紀錄片。
Film Festivals
- The 32nd Hong Kong International Film Festival, International Competition, 2008
- Seoul Independent Documentary Film & Video Festival, Non Competition, 2008
- The 20th FIPA International Festival of Audiovisual Programs, FIPATEL, 2008
- The 1st New Asia Film Festival (Vancouver), 2008
电影节入围
- 第32届香港国际电影节(2008), 国际竞赛单元
- 韩国首尔独立电影电视节(2008)，非竞赛单元
- 第1届加拿大Richmond新亚洲独立影像展（2007）
媒體聚焦
| 2008-03-15 明報週刊：思辯的快感 | 2008-03-25 South China Morning Post:Young post |
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