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本地電影創作缺乏政府支持

出自香港新聞網 - 樹仁新傳系學生實習習作

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本地電影創作缺乏政府支持
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Hong Kong lacks support for local film creative
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Hong Kong local film creative does not have enough exposure room. “It is too fast to finish the production in Hong Kong.” Paul To says. He implies local production focus on its quantity but not quality.
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Paul To, serving the Hong Kong Catholic Diocese of audio-visual centers, specializes on editing work, special effects production.
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Monster and I, his work with his partner Simon Au, the story mainly through the description of Ben’s childhood is being affected by violence. The videos are often played through into his fantasy world to the reality by using special effects.
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He feels disappointed with the Hong Kong has yet to develop into three-dimensional Film Center in Asia. He emphasizes, “Local production can draw the attention from the investors unless the success of the first three-dimensional film appears.”
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Paul indicates the three main problems in Hong Kong almost buried in the creative space.
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“Most of the Hong Kong people are not willing to work in the Creative Industry as it is not the fastest way to make money.” Paul says sadly. “Without enough of Government’s subsidies, we did less.” Paul continues.
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Beside the above two reasons, the foreigners is demanded for the qualitative production that Hong Kong cannot supply.
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“We should try more new things. Hong Kong will be more progressive.” Paul wishes.

在2010年4月25日 (日) 00:23的當前修訂版本

Hong Kong lacks support for local film creative

Hong Kong local film creative does not have enough exposure room. “It is too fast to finish the production in Hong Kong.” Paul To says. He implies local production focus on its quantity but not quality.

Paul To, serving the Hong Kong Catholic Diocese of audio-visual centers, specializes on editing work, special effects production.

Monster and I, his work with his partner Simon Au, the story mainly through the description of Ben’s childhood is being affected by violence. The videos are often played through into his fantasy world to the reality by using special effects.

He feels disappointed with the Hong Kong has yet to develop into three-dimensional Film Center in Asia. He emphasizes, “Local production can draw the attention from the investors unless the success of the first three-dimensional film appears.”

Paul indicates the three main problems in Hong Kong almost buried in the creative space.

“Most of the Hong Kong people are not willing to work in the Creative Industry as it is not the fastest way to make money.” Paul says sadly. “Without enough of Government’s subsidies, we did less.” Paul continues.

Beside the above two reasons, the foreigners is demanded for the qualitative production that Hong Kong cannot supply.

“We should try more new things. Hong Kong will be more progressive.” Paul wishes.

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