With the Chinese commercial property market buffeted by the specter of a flagging domestic economy, a supply glut and stiff competition fueled by e-commerce players, developers are banking on change and innovation to stand out in the crowd. “The Chinese mainland’s commercial property industry has reached a stage where a cluster of developers may find themselves reduced to less competitive market players, hamstrung by outdated management philosophy and unable to make any headway,” Li Wenyao, deputy general manager of Joy City Property Ltd, told China Daily at the retail roundtable forum. This is where Hong Kong-listed Joy City Property, with its competitive edge in management and operation, may have an advantage over rivals, Li said. The company’s ongoing project in Heping district in the city of Tianjin, slated to make its debut by the year-end, marks the developer’s very first attempt to export its management “know-how”. Last December, the ambitious developer embarked on revamping the Exchange Mall in Tianjin into its flagship Joy City shopping mall, a project that will take the total number of Joy City malls under operation across the country to eight. The Exchange Mall project also reflects the developer’s switch to the light asset business model, which aims to ease the pressures on the company’s balance sheet, Li noted. The role that Joy City plays in the Tianjin project is as manager and operator, rather than stakeholder. But the developer shares the rental income and net operating income with Singapore state fund GIC. Some previous practices like holding a 100 percent stake in a project and running the whole show are gradually changing, Li explained. For instance, 49 percent of the stake in its Joy City project in Yantai, Shandong province, for example, is held by GIC. Hong Kong-listed Joy City Property, traded on the main board in Hong Kong, was in 2015 re-branded from COFCO Land Holdings Ltd, as a commercial property arm of the Chinese mainland’s largest agricultural and foodstuffs produce supplier, COFCO Group. The developer targets the emerging middle class, aged between 18 and 35, with their strong appetite for fashion, the latest trends and lifestyles, and heavy reliance on mobile phones and social media. Such a consumer group may be too young to have deep pockets, but constitutes a rising force for the “fan economy” with a penchant for “shopping experience”, a buzzword that many struggling brick-and-mortar retailers are betting big on to bring back the magic of physical shopping. Rather than simply persuade consumers into spending big, Joy City is looking to build up vibrant and alive social settings, where the unique shopping and social experience may lead shoppers more naturally into consumption mode and ignite the power of word of mouth, Li said. Dismissing suggestions that the booming e-commerce sector is taking a toll on the country’s physical retailers and commercial property business, Li believes the online and offline businesses are complementary, and work together to create multi-dimensional shopping experiences for consumers. In a bid to explore the massive online-to-offline market, Joy City has put its main focus on innovation, making the best use of mobile apps and mobile payments, and leveraging big data to track not only consumer trends but also the business performance of commercial tenants. These innovations are what make Joy City stand out from other commercial property developers, Li pointed out. Li expects the rapid urbanization underway in the world’s second-largest economy to translate into robust market demand for commercial real estate developers in second- and third-tier cities. A handful of projects in cities like Wuhan and Qingdao are now being negotiated by Joy City. But the company believes in taking it one step at a time, with its current primary goal being to establish 20 Joy City malls countrywide by the year 2020. Contact Writer: sophia@chinadailyhk.com Source: http://www.chinadailyasia.com/2016-06/17/content_15450376.html
2016-06-15Organized by the Asian Film Awards Academy, the 10th Asian Film Awards were held on Thursday at the Venetian Theatre in Macao. World-renowned Hong Kong director Johnnie To Kei-fung served as this year's jury president and lead a jury comprising celebrity juror from the Chinese mainland including actress Gao Yuanyuan. This year, 77 nominees of 36 films from across nine countries competed for the final Asian Film Awards in 15 categories. Together with 12 industry professionals, festival programmers and critics from all over the world, the jury panel has chosen the final winners from the list of the best Asian films. List of winner: Highest-grossing Asian Film of 2015: Monster Hunt Lifetime Achievement Award: Yuen Wo-ping (HK), Kiki Kirin (Japan) AFA Outstanding Contribution Award: Director Li Qiankuan AFA Next Generation Award: Yoo Ah-in from South Korea AFA 10th Anniversary Special Award: Feng Xiaogang Best Film: The Assassin Best Director: Hou Hsiao-hsien (The Assassin) Best Actor: Lee Byung-hun (Inside Men) Best Actress: Shu Qi (The Assassin) Best Supporting Actor: Asano Tadanobu (Journey To The Shore) Best Supporting Actress: Zhou Yun (The Assassin) Best Newcomer: Jessie Li (Port of Call) Best Screenplay: Jia Zhangke (Mountains May Depart) Best Cinematographer: Mark Lee Ping-Bing (The Assassin) Best Editing: William Chang Suk-ping, Chu Ka-yat, Liao Ching-sung, Wong Hoi, Philip Yung (Port of Call) Best Production Design: Hwarng Wern-Ying (The Assassin) Best Visual Effects: Prasad Sutar (Bajirao Mastani) Best Costume Design: Lee Ji-yeon, Shim Hyun-seob (The Throne) Best Original Music: Lim Giong (The Assassin) Source:http://www.chinadailyasia.com/photo/2016-03/18/content_15401641.html
2016-03-18Li Yansong, president of iQIYI Motion Pictures and the final speaker at a China Daily Asia Leadership Roundtable held on March 16 as part of the Hong Kong International Film and TV Market (FILMART), succinctly summed up the progress made by Chinese films during the past year. Referring to the roundtable forum hosted by China Daily at the previous FILMART, Li said: “Last year we were discussing the future of Chinese films in the context of Asia, this year we are looking at global possibilities. This indeed is a marker of fast-paced growth.” This year marked the 20th edition of FILMART, a four-day event at the Hong Kong Exhibition and Convention Centre which closed on Thursday. The China Daily Asia leadership Roundtable this year welcomed 12 eminent personalities, including film festival directors and educators, high-profile facilitators of industry-government cooperation in filmmaking, production company heads, big-time distributors and new-age film development professionals. Zhou Li, editorial board member of China Daily Group and publisher and editor-in-chief of China Daily Asia Pacific, delivered the keynote address. “Revenue from China’s movie ticket sales is now second only to box offices in the US. In 2015, box office earnings in China touched a record $6.8 billion, up by 49 percent from the previous year, according to the State Administration of Press, Publication, Radio, Film and Television,” Zhou said. He pointed out: “While North America too made more revenue than before, an estimated $11 billion, that market grew at a much slower rate of 7 percent, compared to that in China.” Michael C. Ellis, president and managing director Asia-Pacific Region for the Motion Picture Association, went a step further to predict that Chinese box-office takings will overtake the US by 2017. “In February they already did, for a month,” he noted. “This is a market that is accelerating and the growth has been really staggering. Keep adding 30 percent every year. It’s going to be absolutely huge.” One way to beat the home of Hollywood at their own game would be to get more Chinese to go watch movies on the big screen, he added. “In America 9 in 100 people go to the cinemas once a month. In China the figure in 3.9,” Ellis pointed out. “If we could get more Chinese to go to the theater we might be able to close the gap.” Universal values While China’s box office takings continue to multiply, the challenge before the country’s film industry is to leverage the obvious advantages that money can buy and use these to improve the general standard of the fare on offer. China’s filmmakers can take a leaf out of the book of Taiwan filmmakers, who would not compromise on quality for the sake of a few extra bucks that co-production might bring, according to Jeanne Huang, former director of the Taipei Film Festival. While the Chinese mainland film industry has its obvious influence on film makers in Taiwan, the new-wave directors “are more alert about retaining their own cultural elements and keeping away the ‘commercial’ stuff, even if it means losing money,” Huang said. Her sentiments resonated with those of C.T. Yip, executive director of Media Asia Group Holdings. “Content is king,” he said. “Historically money has not always helped create great content or the ability to appreciate it.” So while the mainland box-office success is certainly worth celebrating, “let’s not forget to engage with developing the content”. Responding to a question from moderator Alexander Wan, senior advisor to China Daily Asia Pacific, Yip noted Hollywood’s interest in Asian content — the evidence of which is in the Wachowski brothers making a wuxia-inspired Matrix, among several others — underscores the fact that “a good story goes beyond the color of the maker’s skin” and is appreciated for its ability to cut across cultural barriers. On a different note A few panelists drew attention to the fact that China’s recent box-office success is best viewed against a bigger picture. Kriengsak Victor Silakong, director of the World Film Festival of Bangkok, noted the popularity of Chinese films is slipping in Thailand. While they were hugely popular in the 1980s, when Hong Kong actors enjoyed a massive following, last year just three Chinese films — two low-budget independent films and a documentary — got a theater release in Thailand. “To get Chinese films back to the ASEAN countries (Association of Southeast Asian Nations) and the Indian subcontinent is the big task (for the Chinese film industry).” The box-office race with the US looks different when one considers its population of 320 million against China’s 1.3 billion, said Chen Bin, senior vice-president at DMG Entertainment. “I think catching up with the US is not our aim,” said Chen, whose company facilitates shooting of Hollywood films in China, sometimes in extreme locations, such as the blockbuster Transformers. “We’re aiming to surpass them. While we cooperate with Hollywood, we’re open to collaboration with any filmmaker who wants to make world-class films.” He ended his impassioned speech with an invitation to open a dialogue on the possibilities of cooperation. “As long as we have a shared value of humanity and want to entertain people, we could work with people, irrespective of their color, culture and ethnicity.” basu@chinadailyhk.com Source: http://www.chinadailyasia.com/2016-03/18/content_15403017.html
2016-03-17MAR 16, 2016, Hong Kong - More than 200 delegates from movie industries around the world attended the China Daily Asia Leadership Roundtable Panel on “International Opportunities Brought by China Film Industry’s Globalization” from 10.00AM to 12.00PM at FILMART. We were delighted to work with the Hong Kong Trade Development Council again as Media Partner for FILMART 2016 for the fourth consecutive year. China’s film industry grossed more than 40 billion RMB in 2015, for the first time with over 60 percent coming from domestic production. The 2016 Chinese New Year witnessed phenomenal increases in 287 million RMB box office takings. China’s box office is expected to reach 100 billion RMB in 2020, surpassing North America to become the world’s largest film market. The rapid globalization of China’s film industry has recently led to strategic deals with the world’s largest film markets including Hollywood, the UK, India, Japan and Korea on content, intellectual property, talent, capital, technology and distribution channels. The interactive session was divided into three sub-sessions, each of which contributed to the Global Perspective, Film Perspective and Film industry Perspective on International Growth Brought by China Film Industry's Globalization. Mr. Zhou Li, Editorial Board Member of China Daily Group of Publisher & Editor-in-Chief of China Daily Asia Pacific welcomed the distinguished speakers from across Asia including Dr. Wilfred WONG Ying-wai, GBS, JP, Chairman of Hong Kong International Film Festival Society, Chairman of Asian Film Awards Academy & Deputy Chairman of Hong Kong Film Development Council; Mr. Michael C. ELLIS, President & Managing Director of Asia-Pacific Region Motion Picture Association; Mr. Keun-tae PARK, CEO & President of CJ Korea Express and CJ Group China Headquarters and Dr. MA Runsheng, former President of China Radio, Film and Television Program Exchange Center, Vice President of China Television Drama Production Industry Association. All experts discussed the topic from a global perspective. WONG suggested two ideas to take away: As the Chinese cinema grows, and the audiences develop, they will be looking for more diversity. There will be opportunities for co-production not only in big-budget multi-starrer films, but in drama, comedy and all kinds of lower budget films. PARK echoed that audiences in China have become younger, so there is need for diversity in movies, and finding content suitable for local culture. ELLIS went a step ahead and predicted Chinese box-office takings will overtake the US by 2017. MA tapped on the topic by a counter-question, "If you look at the top 9 box-office winners, 80 percent of these have some international element and high-quality production standards. While Chinese films should be about Chinese culture, without high technical standards, can we be truly international?" In addition, Ms. Amy LIU, Member of Organizing Committee Office of the Beijing International Film Festival, Co-Founder & Senior Vice President of EntGroup; Ms. Jeane HUANG, Former Director of the Taipei Film Festival, Jury of 9th Asian Film Awards, Jury of 28th Tokyo International Film Festival and Mr. Kriengsak Victor SILAKONG, Festival Director of World Film Festival of Bangkok, shared their views from the film festival angle. LIU mentioned that Chinese film industry is growing rapidly as its box office reached 6.87 billion yuan, up by 67.19 percent over the same period last year. HUANG agreed that China’s box office takings continue to multiply irreversibly, yet the challenge in front of China’s film industry is to leverage the obvious advantages that money can buy and use these to improve the general standard of the fare on offer. Despite a positive outlook on the Chinese film market, SILAKONG pointed out that the popularity of Chinese films is on a downward slide in Thailand. Five panelists from the Chinese Mainland and Hong Kong SAR, Mr. LI Yansong, President of iQIYI Motion Pictures and Vice President of iQIYI.com, Inc; Mr. HAO Bin, Executive Director and Chairman of the Board, SMI Culture Group Holdings Ltd.; Mr. Cary CHENG, Deputy General Manager of Wanda Media Co., Ltd; Mr. CT YIP, Executive Director of Media Asia Group Holdings Limited, CEO of Lai Sun Group and Mr. Bin CHEN, Senior Vice President of DMG YinJi Film, Television, Entertainment & Media Company Limited, further discussed the challenges and opportunities from their respective perspectives. LI is positive about the Chinese film market; he said that last year we were discussing the future of Chinese films in the context of Asia, this year we are looking at global possibilities. Yet, this indeed is a marker of fast-paced growth. YIP summarized that China’s box-office success is certainly a phenomenon worth celebrating. CHENG highlighted that the obstacles for co-productions is difficult to overcome as it is not only the integration of the capital, but it also involves finding subjects that cater to audiences from both sides. In contrast, CHEN stressed that, “As long as we have a shared value of humanity and want to entertain people, we could work with people, irrespective of their color, culture and ethnicity.” HAO said, “We work with a huge population of consumers, filmmakers, writers — people who generate content — and win status for the Chinese film industry from around the world.”
2016-03-17“Revenue from China’s box office sales is only second to box office revenue in the US,” said Zhou Li, publisher and editor-in-chief of China Daily Asia Pacific. China’s box office generated $6.8 billion last year, still trailing the $11 billion in the US but growing faster. Zhou was speaking on March 16 at the China Daily Asia Leadership Roundtable held during the Hong Kong International Film & TV Market (Filmart) to discuss the opportunities brought about by the globalization of China’s film industry. It was telling that the event was held in Hong Kong, which has long played a role as a bridge and a financing center. “Hong Kong has, in the last 30 or 40 years, been preparing itself for the emerging market of China,” said Wilfred Wong Ying-wai, chairman of the Hong Kong International Film Festival Society. “Hong Kong has been and will always be a hub.” Wong believes Hong Kong is a natural gathering point for the industry, something the Asian Film Awards Academy, of which he is also chairman, aims to support by promoting “collaboration between people and filmmakers … we need to make sure these films can reach the audience”. China’s own audience is increasingly important to filmmakers. Between 2010 and 2015, box office revenues grew 353 percent, said Michael Ellis, president and managing director for Asia Pacific with the Motion Picture Association. “Get ready for the ride,” said Ellis, who called for a more even playing field for domestic and foreign films, fewer restrictions and longer screen times — Chinese films typically air for 47 days compared to 30 for foreign ones. One way to get past these barriers is to work together, as South Korea is doing. A new free trade agreement is also helping. “Cooperation between China and Korea has stepped up recently,” said Park Keun-tae, CEO and president for China at CJ Group, which produces and distributes films through its CJ E&M division and has operations in China and parts of Southeast Asia. “The culture content business is one of the driving forces of the international economy. Our core focus is to localize based on our knowledge, our culture and IT,” said Park. “Localization takes into consideration the local culture.” China’s film industry is still in the process of maturing. Ma Runsheng, vice-president of the China Television Drama Production Industry Association, pointed out that compared to Hollywood, the film industry is still weak. “A lot of money does not mean that it is very mature,” he said. “China, as far as the film industry is concerned, is still a developing market, not a developed market. “We have reached an age of huge expansion, rapid expansion,” Ma added. The industry should continue to evolve thanks to both private and government efforts that include new policies to eliminate licenses, remove the need for pre-screening by government censors and better regulate advertising. While filmmakers from abroad are looking for more exposure in China, the opposite is also true. Film festivals can help drive this mutual exposure. There are more than 3,000 film festivals around the world but just two official events in the Chinese mainland, said Jeane Huang, former director of the Taipei Film Festival. “Film festivals are a perfect window to other cultures,” said Huang. “For filmmakers, (festivals) are a perfect place for networking or to show your work.” In the 1980s, Thai audiences would go to see any Chinese films, most of which were made in Hong Kong, said Kriengsak Victor Silakong, director of the World Film Festival of Bangkok. That quickly changed in the 1990s, however, when the popularity of Chinese films declined. Thailand is making 50 or 60 films annually, some in cooperation with other Asian countries. The problem there is access to theaters, with just two big chains controlling virtually all screens. “We must know more what are the needs and the likes of local audiences,” said Amy Liu, a member of the organizing committee office of the Beijing International Film Festival. “This is very helpful for Chinese films to go international.” This internationalization of Chinese films is key but difficult to achieve. “When we speak of the internationalization of film and the opportunities it brings, we must know that films are very unique products,” said Chen Bin, senior vice-president of DMG YinJi Film, Television, Entertainment & Media Company. “Catching up is not our aim. We aim to surpass,” Chen said. “We cooperate with any filmmakers that will give us a way into the world.” The growth of the industry can certainly be a boon for companies that can tap into it, said Hao Bin, executive director and chairman of SMI Culture Group, one of China’s largest filmmakers. “The Chinese film industry has benefitted from government policies that stimulate rapid growth,” said Hao. At the same time, “there is a huge population of consumers and this is a huge bonus for the industry”. A third factor driving growth, he said, is a large pool of writers, producers, filmmakers and other talent. “We are learning from each other, Hollywood and us,” Hao said. “As an investor, we focus first of all on our domestic market. Second, we want our films to be distributed on the international market.” One example of a successful film in China is The Mermaid, which broke box office records since opening last month and became the highest grossing Chinese film of all time, but has had limited reach abroad. Eventually the Chinese market will overtake the US but when that happens is less important, said CT Yip, executive director of the Media Asia Group. “There is no question that we will become the number one market. The question is what happens after,” Yip said. “Everyone has their eyes on the number one prize. And growth is likely to be a two-way affair. “Hollywood goes to China and China goes to Hollywood. This is a dual thing,” said Yip. “Capital goes where the market is.” A word of caution, he said, is that economic growth does not always translate into art — and movies — with global appeal. Wanda Media is trying to minimize the problems that this lack of correlation creates by investing in high-quality content creators while also tapping into universal values. Cary Cheng, deputy general manager at Wanda Media, said: “If we excel in the pan-China market this is good enough. This has been a target for Wanda for a few years and we have had good results.” The company funded and produced the movie Southpaw (2015), about a boxer played by Hollywood star Jake Gyllenhaal, to good success. “Last year, the focus (of this forum) was ‘opportunities and challenges’. This year we only have opportunities,” said Li Yansong, president of iQIYI Motion Pictures. The numbers bear this out, he said, but production and distribution channels are as important as content. Big-budget Chinese films don’t always sell very well, for the time being, even if the domestic market is big enough to generate profits. “The Chinese film industry is certainly developing very fast and on a scale that is attracting the attention of the world,” Li added. Source: http://www.chinadailyasia.com/2016-03/18/content_15403160.html
2016-03-17With the fast development of the Chinese market, film festivals in China are becoming more significant, said Amy Liu Xinying, co-founder and senior vice president of EntGroup Inc, a leading research center of the mainland entertainment industry. Liu was speaking at the China Daily Asia Leadership Roundtable themed as “International Opportunities Brought by China Film Industry’s Globalization.” Liu, who is also a member of the Organizing Committee Office of the 2016 Beijing International Film Festival (BJIFF), revealed that one of the highlights of this year’s BJIFF is “Project Pitches” — a platform to link up high-quality film projects with strong market potential with film investors. This year, about 630 projects have applied, an increase of 40 percent over last year. Liu said mainland film festivals usually focus on film promotion but foreign film festivals are a channel of buying film copyright. The function of Project Pitches is more like overseas film festivals, Liu said, the only difference being the event focuses on buying the movie at early stages of production. She believes it is an opportunity for the globalization of Chinese film festivals and movie makers. Though the BJIFF is just in its sixth year, Liu said its social impact has been among the most significant in the world, thanks to the fast-growing Chinese market. Data from EntGroup reveal that China’s box office takings reached 6.87 billion yuan ($1.06 billion) in February, up 67.19 percent year on year. Liu said that is the highest total ever and estimates the record will be broken again in July. She observed the booming market has attracted many international film makers to the nation. Chinese film companies used to go overseas looking for projects, but now they are coming back home, she noted. “Moreover, foreign film studios are expanding their office size and manpower in China, from just one or two staff to a team of dozens, and are working on local projects.” As more and more co-produced films hit mainland screens, local film companies are expanding their international influence through cooperation and acquisition. Liu has participated in many such projects and found the Western industry is usually amazed by some of the film business models from China. For instance, online ticket sales is a fast-growing phenomenon, Liu said. EntGroup data show 57.5 percent of tickets were sold online in China last year, compared with just 20 percent in the US. Liu believes the spread of the Internet, especially mobile Internet, is an advantage for the Chinese film industry in its quest for globalization, but there are also some risks. The Internet has brought some innovative channels of fundraising, such as crowd-funding, but Liu warned that such channels could disrupt the development of the sector if people buy film tickets for financial speculation rather than actual interest in watching the film. Source: http://www.chinadailyasia.com/2016-03/18/content_15403013.html
2016-03-17中国日报于3月16日第四次携手香港国际影视展,举办题为“中国电影业全球化的世界机遇”的专题研讨会,吸引逾200位业界精英人士参与。图为论坛现场。 中国日报网3月16日香港电 2016年3月16日,香港-中国日报亚洲领袖圆桌论坛第四次携手香港国际影视展,举办题为“中国电影业全球化的世界机遇”的专题研讨会。本次论坛聚集十二位来自亚洲的电影业领军人物,共同探讨香港及亚洲电影业应该如何把握中国电影业全球化所带来的机遇,吸引逾 200 名参会者出席。 中国电影票房2015年突破四百亿人民币,国产片首次占逾六成。 2016年春节档票房更是屡创新高。至2020年,中国电影票房预计将突破一千亿大关,超越北美成为世界第一大电影市场。中国电影业的全球化激起与好莱坞丶英国、印度、日本及韩国等电影大国的一系列战略性合作,涉及内容、知识产权、人才、资金、技术、发行渠道等。 本届论坛围绕三大视角进行深入浅出的探讨。第一节的演讲嘉宾有香港国际电影节协会主席、亚洲电影大奖学院主席及香港电影发展局副主席王英伟博士,美国电影协会资深副总裁暨亚太区区域总监艾理善先生,CJ集团大韩通运总裁兼CJ集团中国区总裁朴根太先生及中国广播电影电视节目交易中心原总裁、中国电视剧制作产业协会副会长马润生博士,他们从环球视角剖析中国电影发趋展势。 香港国际电影节协会主席、亚洲电影大奖学院主席及香港电影发展局副主席王英伟博士表示现今电影业的发展与过去有很大不同,这种进步与不断融合为整个行业带来了更多的活力与机遇。除了科技因素,电影业有着更多的人文互动与交流,中国电影业的不断壮大,会使香港、亚洲及全球的电影业更加充满活力与希望。 美国电影协会资深副总裁暨亚太区区域总监艾理善先生指出中国电影业的发展与进步是大家有目共睹的,并且中国很可能在2017年超过美国,成为全球票房第一大国。因此,中国电影业目前所提供的机遇,我们应该全力把握。 CJ集团大韩通运总裁兼CJ集团中国区总裁朴根太先生认为中国电影的发展与其不断创新的理念息息相关,此外,也与其不断开展对外合作密不可分。目前,韩国电影业与中国有着很多的合作与共享,随着中国电影业的全球化发展,未来这些合作还将更加深入。 中国广播电影电视节目交易中心原总裁、中国电视剧制作产业协会副会长马润生博士就中国的票房数字及电影院线发展为切入点,他认为随着中国电影市场的不断开放,全球合作机会将会越来越多。 第二节的演讲嘉宾有原台北电影节总监、第九届亚洲电影大奖评审、第二十八届东京国际影展评审黄鸿端女士、曼谷世界电影节总监克林萨先生及北京国际电影节组委会办公室成员、艺恩咨询合伙人兼高级副总裁刘新颖女士,以电影节视角为出发点,探讨电影行业发展机遇。 北京国际电影节组委会办公室成员、艺恩咨询合伙人兼高级副总裁刘新颖女士指出中国电影业蓬勃发展将会为整个行业带来更多发展机遇,并且通过各大电影节的交流与互动来加深合作。 原台北电影节总监丶第九届亚洲电影大奖评审、第二十八届东京国际影展评审黄鸿端女士从电影制作和观众的双重角度阐述了中国电影业的发展影响,她表示更多的互动与沟通会给整个电影行业带来更多合作机遇。 曼谷世界电影节总监克林萨先生表示中国电影业迅猛发展,但在中国电影“走出去”这一步还有更多的空间,应着力把握,如此会带动整个亚洲电影业的发展。 第三节的演讲嘉宾有爱奇艺副总裁、爱奇艺影业总裁李岩松先生,星美文化集团控股有限公司执行董事及董事局主席郝彬先生,万达影视传媒有限公司副总经理郑剑锋先生,寰亚传媒集团有限公司执行董事、丽新国际行政总裁叶采得先生及DMG印纪娱乐传媒集团高级副总裁陈彬先生。嘉宾们从电影业界的角度,就中国电影业全球化所带来的国际投资机遇进一步深入讨论。 DMG印纪娱乐传媒集团高级副总裁陈彬先生表示作为电影投资方,关键在于看准时机,加强合作,合作才会共赢。中国电影目前发展势头迅猛,如果能够加强沟通、加深合作,全球化的合作机会将会越来越多,整个行业发展也会越来越好。 星美文化集团控股有限公司执行董事及董事局主席郝彬先生指出目前中国电影不断发展壮大,电影投资方也有越来越多的发展机会,全球化发展的这些机遇值得把握,从而去创造更多价值。 寰亚传媒集团有限公司执行董事、丽新国际行政总裁叶采得先生认为中国电影业发展带来的机遇是前所未有的,对电影业的投资也越来越多,作为投资方我们有信心看到未来的美好前景。 万达影视传媒有限公司副总经理郑剑锋先生表示目前电影业的蓬勃发展带来了很多机遇,除了电影投资,电影人才培养也是重中之重。如果业界能够加强合作,未来发展令人看好。 爱奇艺副总裁、爱奇艺影业总裁李岩松先生表示中国电影业飞速发展,与互联网也有着密切联系,并且着重强调了电影的发行渠道。他认为更加多元化的发行渠道会促进整个电影市场的发展,而多元化的发行渠道有赖于业界的深入合作。 中国日报社拥有报纸、网站、移动客户端、脸谱、推特、微博、微信、电子报等十余种媒介平台,全媒体用户总数累计约4100万;发行量90万份,其中海外60万份;网站日均访问量PV)5200万,全球移动客户端用户达600万;在海外,通过每月发行400余万份海外供版的《中国观察报》(China Watch),直达《华尔街日报》、《华盛顿邮报》、《每日电讯报》、《费加罗报》、加拿大《环球邮报》、泰国《民族报》等美、欧、亚主流读者群。 中国日报亚洲领袖圆桌论坛(www.cdroundtable.com)是一个由亚洲国家和地区的政、商、学界领袖和社会精英参与的高端对话和交流平台,围绕亚洲地区经济、商业、产业和社会发展等具有战略影响的重要议题展开讨论,至今在港、澳和亚太多国已经举办了40余届,逾万名决策精英参与。 Source: http://ent.chinadaily.com.cn/2016-03/16/content_23897995.htm
2016-03-16Asian Film Pundits Applaud International Growth Brought by China Film Industry's Globalization Hong Kong – Approximately 200 delegates from movie industries around the world movie industry attended the China Daily Asia Leadership Roundtable Panel on “International Opportunities Brought by China Film Industry’s Globalization” from 10.00AM to 12.00PM at FILMART. We are delighted to work with the Hong Kong Trade Development Council again as Media Partner for FILMART 2016 for the fourth consecutive year. China’s film industry grossed more than 40 billion RMB in 2015, for the first time with over 60 percent coming from domestic production. The 2016 Chinese New Year witnessed phenomenal increases in 287 million RMB box office takings. China’s box office is expected to reach 100 billion RMB in 2020, surpassing North America to become the world’s largest film market. The rapid globalization of China’s film industry has recently led to strategic deals with the world’s largest film markets including Hollywood, the UK, India, Japan and Korea on content, intellectual property, talent, capital, technology and distribution channels. Speakers: Dr.Wilfred WONG Ying-Wai, Chairman of Hong Kong International Film Festival Society, Chairman of Asian Film Awards Academy &Deputy Chairman of Hong Kong Film Development Council Mr. Michael C. ELLIS, President & Managing Director of Asia-Pacific Region Motion Picture Association Mr. Keun-tae PARK, CEO & President of CJ Korea Express and CJ Group China Headquarters Ms. Amy LIU, Member of Organizing Committee Office of Beijing International Film Festival, Co-Founder & Senior Vice President of EntGroup Ms. Jeane HUANG, Former Director of Taipei Film Festival, Jury of 9thAsian Film Awards, Jury of 28thTokyo International Film Festival Mr. Kriengsak Victor SILAKONG, Festival Director of World Film Festival of Bangkok Mr. LI Yansong, President of iQIYI Motion Pictures and Vice President of iQIYI.com, Inc Mr. HAO Bin, Executive Director and Chairman of the Board, SMI Culture Group Holdings Ltd. Mr. Cary CHENG, Deputy General Manager of Wanda Media Co., Ltd Mr. CT YIP, Executive Director of Media Asia Group Holdings Limited, CEO of Lai Sun Group Dr. MA Runsheng, Former President of China Radio, Film and Television Program Exchange Center, Vice President of China Television Drama Production Industry Association About China Daily Asia Leadership Roundtable The China Daily Asia Leadership Roundtable is a by-invitation network of movers and shakers in Asia providing platforms for focused dialogue, issue investigation, and possible collective action on strategic issues relating to economic, business and social development in Asia. Our aim is to enhance communication and increase mutual understanding between China, Asian and Western countries. Roundtable events are held in major cities across Asia. Source:http://www.alivenotdead.com/alivenotdead/china-daily-roundtable-at-filmart-international-brought-by-china-film-industrys-globalization
2016-03-16亞洲電影領軍人物齊聚中國日報論壇 共同探討「中國電影業全球化的世界機遇」 2016年3月16日,香港-中國日報亞洲領袖圓桌論壇今日第四次攜手香港國際影視展,舉辦題為「中國電影業全球化的世界機遇」的專題研討會。是次論壇聚集十二位來自亞洲的電影業領軍人物,共同探討香港及亞洲電影業應該如何把握中國電影業全球化所帶來的機遇,吸引逾 200 名參會者出席。 中國電影票房2015年突破四百億人民幣,國產片首次占逾六成。 2016年春節檔票房更是屢創新高。至2020年,中國電影票房預計將突破一千億大關,超越北美成為世界第一大電影市場。中國電影業的全球化激起與好萊塢丶英國、印度、日本及韓國等電影大國的一系列戰略性合作,涉及內容、知識產權、人才、資金、技術、發行渠道等。 本屆論壇圍繞三大視覺進行深入淺出的探討。第一節的演講嘉賓有香港國際電影節協會主席、亞洲電影大獎學院主席及香港電影發展局副主席王英偉博士,美國電影協會資深副總裁暨亞太區區域總監艾理善先生,CJ集團大韓通運總裁兼CJ集團中國區總裁朴根太先生及中國廣播電影電視節目交易中心原總裁、中國電視劇製作產業協會副會長馬潤生博士,他們從環球視角剖析中國電影發趨展勢。 香港國際電影節協會主席、亞洲電影大獎學院主席及香港電影發展局副主席王英偉博士表示現今電影業的發展與過去有很大不同,這種進步與不斷融合為整個行業帶來了更多的活力與機遇。除了科技因素,電影業有著更多的人文互動與交流,中國電影業的不斷壯大,會使香港、亞洲及全球的電影業更加充滿活力與希望。 美國電影協會資深副總裁暨亞太區區域總監艾理善先生指出中國電影業的發展與進步是大家有目共睹的,並且中國很可能在2017年超過美國,成為全球票房第一大國。因此,中國電影業目前所提供的機遇,我們應該全力把握。 CJ集團大韓通運總裁兼CJ集團中國區總裁朴根太先生認為中國電影的發展與其不斷創新的理念息息相關,此外,也與其不斷開展對外合作密不可分。目前,韓國電影業與中國有著很多的合作與共享,隨著中國電影業的全球化發展,未來這些合作還將更加深入。 中國廣播電影電視節目交易中心原總裁、中國電視劇製作產業協會副會長馬潤生博士就中國的票房數字及電影院線發展為切入點,他認為隨著中國電影市場的不斷開放,全球合作機會將會越來越多。 第二節的演講嘉賓有原臺北電影節總監丶第九屆亞洲電影大獎評審、第二十八屆東京國際影展評審黃鴻端女士、曼谷世界電影節總監克林薩先生及北京國際電影節組委會辦公室成員、藝恩諮詢合夥人兼高級副總裁劉新穎女士,以電影節視角為出發點,探討電影行業發展機遇。 北京國際電影節組委會辦公室成員、藝恩諮詢合夥人兼高級副總裁劉新穎女士指出中國電影業蓬勃發展將會為整個行業帶來更多發展機遇,並且通過各大電影節的交流與互動來加深合作。 原臺北電影節總監丶第九屆亞洲電影大獎評審、第二十八屆東京國際影展評審黃鴻端女士從電影製作和觀眾的雙重角度闡述了中國電影業的發展影響,她表示更多的互動與溝通會給整個電影行業帶來更多合作機遇。 曼谷世界電影節總監克林薩先生表示中國電影業迅猛發展,但在中國電影“走出去”這一步還有更多的空間,應著力把握,如此會帶動整個亞洲電影業的發展。 第三節的演講嘉賓有愛奇藝副總裁、愛奇藝影業總裁李岩松先生,星美文化集團控股有限公司執行董事及董事局主席郝彬先生,萬達影視傳媒有限公司副總經理鄭劍鋒先生,寰亞傳媒集團有限公司執行董事、麗新國際行政總裁葉采得先生及DMG印紀娛樂傳媒集團高級副總裁陳彬先生。嘉賓們從電影業界的角度,就中國電影業全球化所帶來的國際投資機遇進一步深入討論。 DMG印紀娛樂傳媒集團高級副總裁陳彬先生表示作為電影投資方,關鍵在於看準時機,加強合作,合作才會共贏。中國電影目前發展勢頭迅猛,如果能夠加強溝通、加深合作,全球化的合作機會將會越來越多,整個行業發展也會越來越好。 星美文化集團控股有限公司執行董事及董事局主席郝彬先生指出目前中國電影不斷發展壯大,電影投資方也有越來越多的發展機會,全球化發展的這些機遇值得把握,從而去創造更多價值。 寰亞傳媒集團有限公司執行董事、麗新國際行政總裁葉采得先生認為中國電影業發展帶來的機遇是前所未有的,對電影業的投資也越來越多,作為投資方我們有信心看到未來的美好前景。 萬達影視傳媒有限公司副總經理鄭劍鋒先生表示目前電影業的蓬勃發展帶來了很多機遇,除了電影投資,電影人才培養也是重中之重。如果業界能夠加強合作,未來發展令人看好。 愛奇藝副總裁、愛奇藝影業總裁李岩松先生表示中國電影業飛速發展,與互聯網也有著密切聯繫,並且著重強調了電影的發行渠道。他認為更加多元化的發行渠道會促進整個電影市場的發展,而多元化的發行渠道有賴於業界的深入合作。 中國日報社擁有報紙、網站、移動客戶端、臉譜、推特、微博、微信、電子報等十餘種媒介平臺,全媒體用戶總數累計約4100萬;發行量90萬份,其中海外60萬份;網站日均訪問量PV)5200萬,全球移動客戶端用戶達600萬;在海外,通過每月發行400余萬份海外供版的《中國觀察報》(China Watch),直達《華爾街日報》、《華盛頓郵報》、《每日電訊報》、《費加羅報》、加拿大《環球郵報》、泰國《民族報》等美、歐、亞主流讀者群。 中國日報亞洲領袖圓桌論壇(www.cdroundtable.com)是一個由亞洲國家和地區的政、商、學界領袖和社會精英參與的高端對話和交流平臺,圍繞亞洲地區經濟、商業、產業和社會發展等具有戰略影響的重要議題展開討論,至今在港、澳和亞太多國已經舉辦了40餘屆,逾萬名決策精英參與。 ——完——
2016-03-16(February 25, 2016, Hong Kong) Monster Hunt has emerged as the highest-grossing Asian film of 2015 and will receive the AFA’s award for Highest-Grossing Asian Film of the year at the 10th Asian Film Awards (AFA) at The Venetian® Macao on March 17, 2016. The film is also competing for the “Best Visual Effects” and “Best Sound” in the coming awards ceremony. The 3D fantasy adventure film set in a world of humans and monsters is a skillful mix of live action and animation directed by Hong Kong-born Raman HUI who made his reputation in Hollywood with the Shrek franchise for DreamWorks Animation; and produced by Bill KONG, who has scored many successes globally with films such as Crouching Tiger, Hidden Dragon, and renowned film production and costume designer YEE Chung-man. The film also features a star-studded cast from Hong Kong and Mainland China, including BAI Baihe, JING Boran, Eric TSANG Chi-wai, Sandra NG Kwan-yu, JIANG Wu, YAN Ni, TANG Wei, Wallace CHUNG Hon-leung, and YAO Chen. The director said that the message of his tale of war and love between humans and monsters is "to understand differences, to see the world through others' eyes and to foster more understanding be-tween people and groups," a theme of acceptance that was welcomed at the box office. Upon it release in July 2015, Monster Hunt became a huge commercial success, breaking numerous box office records with an accumulated box office of RMB$2.438 billion (US$382 million) in China. It surpassed Hollywood blockbusters, such as Furious 7 and Transformers: Age of Extinction, to be-come the highest-grossing film in China of all time; and broke the records of Chinese movies released in the same year, including From Vegas to Macau II and Jian Bing Man, to emerge as the highest-grossing Asian Film of 2015. Organized by the Asian Film Awards Academy (“AFA Academy”), the Asian Film Awards (“AFA”) will celebrate its 10th anniversary this year. For this edition, 77 nominations have been made for 15 awards. The nominations represent 36 films from 10 countries. World-renowned Hong Kong director Dr. Johnnie TO Kei-fung will serve as this year’s Jury President and lead a jury comprising our two charismatic and popular celebrity jurors, Hong Kong actor Mr. Sean LAU Ching-wan and mainland Chinese actress Ms. GAO Yuanyuan, as well as 12 respected film industry professionals, festival programmers and critics from all over the world. Sponsored by Sands Resorts Cotai Strip Macao and The Venetian Macao, with Cotai Water Jet as the official ferry operator, the 10th Asian Film Awards will be held at one of the world’s leading in-tegrated resorts and must-see destination, The Venetian Macao, on March 17, 2016 (Thursday). Details of the 10th Asian Film Awards Ceremony: Date: March 17, 2016 (Thursday) Venue: The Venetian Theatre, The Venetian Macao (Estrada da Baía de N. Senhora da Esperança, s/n, Taipa, Macao SAR) For media online registration, please kindly visit the following link. http://www.asianfilmawards.asia/media/media-accreditation/ Asian Film Awards (AFA) Inaugurated in 2007, the Asian Film Awards celebrates excellence in Asian cinema through the annual presentation of awards to talents and films that make up the dynamic film industries of Asia. Awards night is a spectacular gathering of stars, celebrities, industry professionals and the media that highlights and publicizes the year’s achievements in Asian movies. Presented in Hong Kong in its first seven years, the Awards moved to one of Asia’s fastest growing entertainment hubs, Macau, in 2014 – one step closer to its long-term plan of being held in different Asian cities to reflect its broad reach across the entire region. Asian Film Awards Academy (AFAA) In 2013, three main Asian film festivals - Busan, Hong Kong and Tokyo - joined together to create the non-profit organization, the Asian Film Awards Academy to promote and develop Asian cinema and its talents. The AFA Academy highlights, strengthens and develops Asian film industry and culture through the annual Asian Film Awards, and several year-round initiatives including strategies for building regional and international audiences. Members of the AFA Academy are drawn from all past nominees and winners of the Asian Film Awards. Members vote for the Asian Film Awards and also participate in various AFA Academy activities involving film professionals and audiences in Asia and around the world. In 2015, the AFA Academy launched events and activities including the Masterclass Series, Journey to the Fest, Asian Cinerama and Young Film Professionals Program to promote, educate, inform and develop knowledge, skills and interest in Asian cinema among the industry,students and audiences in Asia and beyond. The AFA Academy expresses the increasing global importance and creative strengths of Asian films and aims to unite the industries and talents of the fast-growing region. About Sands Resorts Cotai Strip Macao – Sands China’s Integrated Resort City Sands China Ltd. is the leading developer, owner and operator of integrated resorts in Macao. The befittingly named Sands Resorts Cotai Strip Macao, situated on reclaimed land between the islands of Coloane and Taipa, is the one destination that provides a stunning array of experiences at the heart of Cotai. Sands Resorts Cotai Strip Macao has transformed a day-trip market into an integrated resort city and international hub for business and leisure travellers. Pulsating with life, both night and day, Sands Resorts Cotai Strip Macao features an expansive offering of affordable luxury available nowhere else in Macao, with approximately 9,000 hotel rooms and suites, international superstar live entertainment, duty-free shopping with more than 650 retailers offering an unparalleled array of name brands, 1.5 million square feet (140,000 square metres) of meeting and exhibition space for Asia’s leading conferences and exhibitions, transportation offerings and well over 100 dining options, including Michelin-starred restaurants, bars and lounges. Sands Resorts Cotai Strip Macao is a must-go destination providing every guest with an unforgettable experience and unparalleled excitement. Comprised of The Venetian® Macao; The Plaza™ Macao, featuring the Four Seasons Hotel Macao; and Sands® Cotai Central, featuring the world’s largest Conrad, Sheraton, and St. Regis hotels as well as the Holiday Inn. Sands Resorts Cotai Strip Macao is where Asia’s ultimate destination is all within reach. And coming in 2016... the crowning achievement of Sheldon G. Adelson’s vision of the Cotai Strip… The Parisian Macao. Sands Resorts Cotai Strip Macao… Beat the Centre of It All! For more information, please visit http://en.sandsresortsmacao.com. Comprised of The Venetian® Macao; The Plaza™ Macao, featuring the Four Seasons Hotel Macao; and Sands® Cotai Central, featuring the world’s largest Conrad, Sheraton, and Holiday Inn hotels, Sands Resorts Cotai Strip Macao is where Asia’s ultimate destination is all within reach. And coming in late 2015... the crowning achievement of Sheldon G. Adelson’s vision of the Cotai Strip… The Parisian Macao. SandsResorts Cotai Strip Macao… Be at the Centre of It All! For more information, please visit http://en.sandsresortsmacao.com. About The Venetian® Macao Opened in 2007, The Venetian® Macao is Macao's first integrated resort featuring stunning replicas of the famous canals and architectural icons of Venice, Italy. The Venetian Macao features 3,000 suites, 1.2 million square feet (111,000 square metres) of convention and meeting facilities as well as a 15,000-seat Cotai Arena designed for world-class sports events and electrifying entertainment. The Venetian Macao is also home to the unique, 1,800-seat luxury Venetian Theatre, hosting the best in international and Chinese entertainment; more than 30 renowned restaurants; TAIVEXMALO Day Hospital & Spa; the incredibly fun QUBE indoor playground and more than 350 retailers at Shoppes at Venetian. Outdoor recreation areas include swimming pools and cabanas and a mini-golf course. For more information, please visitwww.venetianmacao.com. About Cotai Water Jet Launched in November 2007, Cotai Water Jet is a premium high-speed ferry service between Hong Kong and Macao. As of December 2015, the maritime jet fleet has serviced more than 52 million passengers and in 2015 averaged approximately 89 daily sailings. Its 14 custom-built catamarans have the capacity to carry more than 400 passengers each and operate at top speeds of approximately 42 knots. Passengers on Cotai Water Jet have a choice of three classes of service as well as direct sailings between ports in Macao, Taipa, Hong Kong, Kowloon and Hong Kong International Airport, thus providing an important transportation option for both locals and visitors to Macao. The Cotai Water Jet service is managed and operated on behalf of owner Sands China Ltd. by Chu Kong High Speed Ferry Co. Ltd. of Hong Kong. For more information, including sailing schedule and fares, please visit www.cotaiwaterjet.com. Taipa Village Macau Taipa village, home to the Portuguese architecture, is the historical part of Taipa and the best preserved area in the south of the island. It seeks to be the new landmark in Macau – a dynamic leisure destination infused with niche shopping, innovative dining, diversified entertainments and heritage attractions. The cultural-blended destination defines an opulent mixture of heritage and modernity, where east meets west. It is a living village with real-life stories to tell – a place where people live and work, redefining the memories of the local residents who have witnessed the changes of the island over these decades. Visitors can taste a sumptuous selection of authentic cuisines, from local Chinese delights to continental flair infused with Portuguese and Spanish flavors. While being away from the glitz and vibrancy of the casinos resorts along Cotai strip, Taipa Village is only walking distance from the resorts which make traveling very accessible.
2016-02-25HONG KONG - Female leaders from across Asia who gathered for a high-profile roundtable discussion in Hong Kong appealed for all women to present the best of themselves, dream big and press ahead for greater achievements so as to make contributions to the common good. Business, politics and entertainment were sectors represented as the eight high-achievers gathered to receive the 2016 Asian Women Leadership Awards on Jan 19. The award, jointly initiated by China Daily and the Asia News Network of 22 media groups, honors successful women who are role models in entrepreneurship, innovation and charity, and are dedicated to making changes in their societies. This year’s eight trailblazing awardees expressed their views at the China Daily Roundtable themed Leading Asia: Women as Change Agents, Innovators and Entrepreneurs, held alongside the Asian Financial Forum at the Hong Kong Convention and Exhibition Centre. Delivering the welcome address, Zhou Li, editorial board member of the China Daily Group, said: “The late chairman Mao (Zedong) once said, ‘women hold up half the sky’. We strongly believe women could do much more than that. They make a difference.” Untapped talents “In Asia and in Hong Kong as well, women make up half of the working population,” said Raymond Yip, deputy executive director at the Hong Kong Trade Development Council. “The number of women in leadership positions is growing. But there are still untapped female talents, for leadership and innovative roles in particular. We expect more women to take these roles and encourage more of their peers to march forward.” The awardees then had their say. Pansy Ho, managing director of Shun Tak Holdings Ltd and daughter of Macao gambling tycoon Stanley Ho, said: “We should not be afraid of our own power. Instead of controlling and constraining our abilities, we need to learn how to utilize it, at the right moment, to achieve not just for ourselves but also for the larger welfare of the communities we live in.” “We need to be more occupied and make other people’s dreams come true as well. This is still the motto for me,” Ho added. Chadatip Chutrakul, chief executive officer at Siam Piwat Company Ltd noted how women in her country are luckier than many others. “Women in Thailand are lucky, because we don’t have the gender issue,” Chutrakul said. “However, I was taught that whatever I do, I need to do my best. It’s up to us to prove ourselves.” The boss of the Thai retail and development giant then added: “We need to make changes, not just as a mother or a daughter or even for a company, but for the good of the country.” Commemorative China Daily front pages bearing the image and bio of each awardee are lined up for display. (Photo by Edmond Tang, China Daily) Christine Loh, under secretary for the environment of the Hong Kong SAR government, channeled the old adage about how a job worth doing is worth doing well. “No one is obliged to do anything. But remember, whatever you choose to do, you have to do it very well,” said Loh. “It’s important to be adaptive. Sometimes you just need to go with the flow and that could be a great learning opportunity,” she added. Miriam Yeung, the celebrated Hong Kong actress and singer, told the audience that her success is “a mix of commitment, persistence and courage”. “Nothing is impossible. I believe there’s always a way,” Yeung said. “I’ve never given up on my career.” While hard work is important, it is equally important to change perceptions, pointed out Dianna Lee, group chief executive officer at Malaysia’s Country Heights Holdings Berhad. Lee acknowledged that for women who are multi-tasking, it is key to be result-driven instead of dedicating all their time to work. “As long as you can deliver, you are a good worker,” she said. Jing Ulrich, vice chairman of Asia Pacific at JPMorgan Chase & Co emphasized that for women, it is key to find a passion for life. “For me, success is simple. It’s about passion, perseverance and confidence,” Ulrich said. “And education is important,” she added. “When I graduated from Harvard, I graduated with confidence. It’s key to young women especially. No one would have confidence in you if you don’t even have faith in yourself.” Bridge differences Benedicte Nolens, senior director and head of risk and strategy at the Hong Kong Securities and Futures Commission, told the audience that women who want to have a career need to take risks to seize opportunities as they emerge. But it is also necessary to accept that women and men are different, she pointed out. “Women are equal to men, until they need to have babies,” she said. “We need to find work-life balance and our support network in order to reach higher achievements.” Nolens said her way is to turn to Women in Finance Asia, a charity that brings together female professionals in the financial services industry to foster mutual support and growth. “It allowed me to get over a difficult period in my career,” she added. Audience observing the 2016 Asian Women Leadership Awards. (Photo by Edmond Tang, China Daily) The reality is that women tend to drop out of the workforce as they grow older. Rebecca Brosnan, managing director and head of product development at Hong Kong Exchanges and Clearing (HKEx), told the audience that in the 25 to 29 age group, labor participation for women is 84 percent. But by the time they reach 55, less than half, or 45 percent, are seen to be still working. In Hong Kong, 30 percent of married women leave the workforce to care for children, aging parents or for other family obligations. “If women are cut off midway (in their careers), it’s really difficult to get back,” Brosnan said. She highlighted the Back to Work Programme launched by the HKEx to reengage female professionals who may have left the workforce for a few years. The program is in its third year and Brosnan called upon all female talents to return to the work force. “We are running the program for the third year,” she said. “We have got about 100 applications from mothers who have been raising their kids for a few years. We’ve hired many. And I would encourage all the women who have left workforce to come back.” Source: http://www.chinadailyasia.com/2016-01/22/content_15376658.html
2016-01-22Women need to be confident and ambitious in terms of assuming leadership roles at work, according to Jing Ulrich, managing director and vice-chairperson for Asia Pacific at JPMorgan Chase & Co. “If you look at the CEOs and board directors across Asia, you will see the gender gap between male and female leaders remains very wide,” Ulrich told China Daily on the sidelines of the China Daily 2016 Asian Women Leadership Awards & Roundtable on Jan 19. “However, I think Hong Kong is a more diverse society than many other Asian societies. While society and employers can provide support, the most important thing is that women must have the ambition and confidence to take on leadership roles themselves,” she said. In terms of taking up leadership roles, women must also have the desire to do so, Ulrich said. If they have the ambition to be a CEO, let it be known. They need to speak up, be dedicated and work hard toward that goal, she said. Ulrich urged women to pluck up the courage and confidence in themselves to face the next challenge. Of course, the external environment, society or employers can provide support, but first and foremost, women need to be self-confident. “For me, personally, confidence is not something you are born with. It’s something that you gain from your experience and knowledge. I didn’t have that much confidence when I went to the US for college at a very young age, but through my education and work experience in the US and other international cities, I have built up my self-confidence over time.” Ulrich pointed out that practice helps build up confidence, while you also have to be very competent, as confidence comes with competence. You have to know what you are doing and you have to be good at what you are doing, she said. Ulrich believes that the general environment for professional women in Hong Kong has improved significantly, particularly in financial circles. She added that Hong Kong is comparatively more conducive for professional women to succeed and many women in the financial sector have successfully moved up the ranks to secure top positions in their companies. A balanced lifestyle is crucial for a woman to succeed. “On a daily basis, life is about balancing and priorities, you need to have a balance between work and family, between work and leisure, between work and health,” she explained. For women, one of the fundamentals for success is good health. Ulrich said she still finds time to run about 1.5 hours on a treadmill every night at home. She never wastes any time, so she reads and watches news programs when she runs. Her advice to young women: Find something you love, be passionate about your work, but also remember there’s no short cut, you have to work very hard and don’t give up. Source: http://www.chinadailyasia.com/2016-01/22/content_15376639.html
2016-01-22With the Chinese commercial property market buffeted by the specter of a flagging domestic economy, a supply glut and stiff competition fueled by e-commerce players, developers are banking on change and innovation to stand out in the crowd. “The Chinese mainland’s commercial property industry has reached a stage where a cluster of developers may find themselves reduced to less competitive market players, hamstrung by outdated management philosophy and unable to make any headway,” Li Wenyao, deputy general manager of Joy City Property Ltd, told China Daily at the retail roundtable forum. This is where Hong Kong-listed Joy City Property, with its competitive edge in management and operation, may have an advantage over rivals, Li said. The company’s ongoing project in Heping district in the city of Tianjin, slated to make its debut by the year-end, marks the developer’s very first attempt to export its management “know-how”. Last December, the ambitious developer embarked on revamping the Exchange Mall in Tianjin into its flagship Joy City shopping mall, a project that will take the total number of Joy City malls under operation across the country to eight. The Exchange Mall project also reflects the developer’s switch to the light asset business model, which aims to ease the pressures on the company’s balance sheet, Li noted. The role that Joy City plays in the Tianjin project is as manager and operator, rather than stakeholder. But the developer shares the rental income and net operating income with Singapore state fund GIC. Some previous practices like holding a 100 percent stake in a project and running the whole show are gradually changing, Li explained. For instance, 49 percent of the stake in its Joy City project in Yantai, Shandong province, for example, is held by GIC. Hong Kong-listed Joy City Property, traded on the main board in Hong Kong, was in 2015 re-branded from COFCO Land Holdings Ltd, as a commercial property arm of the Chinese mainland’s largest agricultural and foodstuffs produce supplier, COFCO Group. The developer targets the emerging middle class, aged between 18 and 35, with their strong appetite for fashion, the latest trends and lifestyles, and heavy reliance on mobile phones and social media. Such a consumer group may be too young to have deep pockets, but constitutes a rising force for the “fan economy” with a penchant for “shopping experience”, a buzzword that many struggling brick-and-mortar retailers are betting big on to bring back the magic of physical shopping. Rather than simply persuade consumers into spending big, Joy City is looking to build up vibrant and alive social settings, where the unique shopping and social experience may lead shoppers more naturally into consumption mode and ignite the power of word of mouth, Li said. Dismissing suggestions that the booming e-commerce sector is taking a toll on the country’s physical retailers and commercial property business, Li believes the online and offline businesses are complementary, and work together to create multi-dimensional shopping experiences for consumers. In a bid to explore the massive online-to-offline market, Joy City has put its main focus on innovation, making the best use of mobile apps and mobile payments, and leveraging big data to track not only consumer trends but also the business performance of commercial tenants. These innovations are what make Joy City stand out from other commercial property developers, Li pointed out. Li expects the rapid urbanization underway in the world’s second-largest economy to translate into robust market demand for commercial real estate developers in second- and third-tier cities. A handful of projects in cities like Wuhan and Qingdao are now being negotiated by Joy City. But the company believes in taking it one step at a time, with its current primary goal being to establish 20 Joy City malls countrywide by the year 2020. Contact Writer: sophia@chinadailyhk.com Source: http://www.chinadailyasia.com/2016-06/17/content_15450376.html
2016-06-15Organized by the Asian Film Awards Academy, the 10th Asian Film Awards were held on Thursday at the Venetian Theatre in Macao. World-renowned Hong Kong director Johnnie To Kei-fung served as this year's jury president and lead a jury comprising celebrity juror from the Chinese mainland including actress Gao Yuanyuan. This year, 77 nominees of 36 films from across nine countries competed for the final Asian Film Awards in 15 categories. Together with 12 industry professionals, festival programmers and critics from all over the world, the jury panel has chosen the final winners from the list of the best Asian films. List of winner: Highest-grossing Asian Film of 2015: Monster Hunt Lifetime Achievement Award: Yuen Wo-ping (HK), Kiki Kirin (Japan) AFA Outstanding Contribution Award: Director Li Qiankuan AFA Next Generation Award: Yoo Ah-in from South Korea AFA 10th Anniversary Special Award: Feng Xiaogang Best Film: The Assassin Best Director: Hou Hsiao-hsien (The Assassin) Best Actor: Lee Byung-hun (Inside Men) Best Actress: Shu Qi (The Assassin) Best Supporting Actor: Asano Tadanobu (Journey To The Shore) Best Supporting Actress: Zhou Yun (The Assassin) Best Newcomer: Jessie Li (Port of Call) Best Screenplay: Jia Zhangke (Mountains May Depart) Best Cinematographer: Mark Lee Ping-Bing (The Assassin) Best Editing: William Chang Suk-ping, Chu Ka-yat, Liao Ching-sung, Wong Hoi, Philip Yung (Port of Call) Best Production Design: Hwarng Wern-Ying (The Assassin) Best Visual Effects: Prasad Sutar (Bajirao Mastani) Best Costume Design: Lee Ji-yeon, Shim Hyun-seob (The Throne) Best Original Music: Lim Giong (The Assassin) Source:http://www.chinadailyasia.com/photo/2016-03/18/content_15401641.html
2016-03-18Li Yansong, president of iQIYI Motion Pictures and the final speaker at a China Daily Asia Leadership Roundtable held on March 16 as part of the Hong Kong International Film and TV Market (FILMART), succinctly summed up the progress made by Chinese films during the past year. Referring to the roundtable forum hosted by China Daily at the previous FILMART, Li said: “Last year we were discussing the future of Chinese films in the context of Asia, this year we are looking at global possibilities. This indeed is a marker of fast-paced growth.” This year marked the 20th edition of FILMART, a four-day event at the Hong Kong Exhibition and Convention Centre which closed on Thursday. The China Daily Asia leadership Roundtable this year welcomed 12 eminent personalities, including film festival directors and educators, high-profile facilitators of industry-government cooperation in filmmaking, production company heads, big-time distributors and new-age film development professionals. Zhou Li, editorial board member of China Daily Group and publisher and editor-in-chief of China Daily Asia Pacific, delivered the keynote address. “Revenue from China’s movie ticket sales is now second only to box offices in the US. In 2015, box office earnings in China touched a record $6.8 billion, up by 49 percent from the previous year, according to the State Administration of Press, Publication, Radio, Film and Television,” Zhou said. He pointed out: “While North America too made more revenue than before, an estimated $11 billion, that market grew at a much slower rate of 7 percent, compared to that in China.” Michael C. Ellis, president and managing director Asia-Pacific Region for the Motion Picture Association, went a step further to predict that Chinese box-office takings will overtake the US by 2017. “In February they already did, for a month,” he noted. “This is a market that is accelerating and the growth has been really staggering. Keep adding 30 percent every year. It’s going to be absolutely huge.” One way to beat the home of Hollywood at their own game would be to get more Chinese to go watch movies on the big screen, he added. “In America 9 in 100 people go to the cinemas once a month. In China the figure in 3.9,” Ellis pointed out. “If we could get more Chinese to go to the theater we might be able to close the gap.” Universal values While China’s box office takings continue to multiply, the challenge before the country’s film industry is to leverage the obvious advantages that money can buy and use these to improve the general standard of the fare on offer. China’s filmmakers can take a leaf out of the book of Taiwan filmmakers, who would not compromise on quality for the sake of a few extra bucks that co-production might bring, according to Jeanne Huang, former director of the Taipei Film Festival. While the Chinese mainland film industry has its obvious influence on film makers in Taiwan, the new-wave directors “are more alert about retaining their own cultural elements and keeping away the ‘commercial’ stuff, even if it means losing money,” Huang said. Her sentiments resonated with those of C.T. Yip, executive director of Media Asia Group Holdings. “Content is king,” he said. “Historically money has not always helped create great content or the ability to appreciate it.” So while the mainland box-office success is certainly worth celebrating, “let’s not forget to engage with developing the content”. Responding to a question from moderator Alexander Wan, senior advisor to China Daily Asia Pacific, Yip noted Hollywood’s interest in Asian content — the evidence of which is in the Wachowski brothers making a wuxia-inspired Matrix, among several others — underscores the fact that “a good story goes beyond the color of the maker’s skin” and is appreciated for its ability to cut across cultural barriers. On a different note A few panelists drew attention to the fact that China’s recent box-office success is best viewed against a bigger picture. Kriengsak Victor Silakong, director of the World Film Festival of Bangkok, noted the popularity of Chinese films is slipping in Thailand. While they were hugely popular in the 1980s, when Hong Kong actors enjoyed a massive following, last year just three Chinese films — two low-budget independent films and a documentary — got a theater release in Thailand. “To get Chinese films back to the ASEAN countries (Association of Southeast Asian Nations) and the Indian subcontinent is the big task (for the Chinese film industry).” The box-office race with the US looks different when one considers its population of 320 million against China’s 1.3 billion, said Chen Bin, senior vice-president at DMG Entertainment. “I think catching up with the US is not our aim,” said Chen, whose company facilitates shooting of Hollywood films in China, sometimes in extreme locations, such as the blockbuster Transformers. “We’re aiming to surpass them. While we cooperate with Hollywood, we’re open to collaboration with any filmmaker who wants to make world-class films.” He ended his impassioned speech with an invitation to open a dialogue on the possibilities of cooperation. “As long as we have a shared value of humanity and want to entertain people, we could work with people, irrespective of their color, culture and ethnicity.” basu@chinadailyhk.com Source: http://www.chinadailyasia.com/2016-03/18/content_15403017.html
2016-03-17MAR 16, 2016, Hong Kong - More than 200 delegates from movie industries around the world attended the China Daily Asia Leadership Roundtable Panel on “International Opportunities Brought by China Film Industry’s Globalization” from 10.00AM to 12.00PM at FILMART. We were delighted to work with the Hong Kong Trade Development Council again as Media Partner for FILMART 2016 for the fourth consecutive year. China’s film industry grossed more than 40 billion RMB in 2015, for the first time with over 60 percent coming from domestic production. The 2016 Chinese New Year witnessed phenomenal increases in 287 million RMB box office takings. China’s box office is expected to reach 100 billion RMB in 2020, surpassing North America to become the world’s largest film market. The rapid globalization of China’s film industry has recently led to strategic deals with the world’s largest film markets including Hollywood, the UK, India, Japan and Korea on content, intellectual property, talent, capital, technology and distribution channels. The interactive session was divided into three sub-sessions, each of which contributed to the Global Perspective, Film Perspective and Film industry Perspective on International Growth Brought by China Film Industry's Globalization. Mr. Zhou Li, Editorial Board Member of China Daily Group of Publisher & Editor-in-Chief of China Daily Asia Pacific welcomed the distinguished speakers from across Asia including Dr. Wilfred WONG Ying-wai, GBS, JP, Chairman of Hong Kong International Film Festival Society, Chairman of Asian Film Awards Academy & Deputy Chairman of Hong Kong Film Development Council; Mr. Michael C. ELLIS, President & Managing Director of Asia-Pacific Region Motion Picture Association; Mr. Keun-tae PARK, CEO & President of CJ Korea Express and CJ Group China Headquarters and Dr. MA Runsheng, former President of China Radio, Film and Television Program Exchange Center, Vice President of China Television Drama Production Industry Association. All experts discussed the topic from a global perspective. WONG suggested two ideas to take away: As the Chinese cinema grows, and the audiences develop, they will be looking for more diversity. There will be opportunities for co-production not only in big-budget multi-starrer films, but in drama, comedy and all kinds of lower budget films. PARK echoed that audiences in China have become younger, so there is need for diversity in movies, and finding content suitable for local culture. ELLIS went a step ahead and predicted Chinese box-office takings will overtake the US by 2017. MA tapped on the topic by a counter-question, "If you look at the top 9 box-office winners, 80 percent of these have some international element and high-quality production standards. While Chinese films should be about Chinese culture, without high technical standards, can we be truly international?" In addition, Ms. Amy LIU, Member of Organizing Committee Office of the Beijing International Film Festival, Co-Founder & Senior Vice President of EntGroup; Ms. Jeane HUANG, Former Director of the Taipei Film Festival, Jury of 9th Asian Film Awards, Jury of 28th Tokyo International Film Festival and Mr. Kriengsak Victor SILAKONG, Festival Director of World Film Festival of Bangkok, shared their views from the film festival angle. LIU mentioned that Chinese film industry is growing rapidly as its box office reached 6.87 billion yuan, up by 67.19 percent over the same period last year. HUANG agreed that China’s box office takings continue to multiply irreversibly, yet the challenge in front of China’s film industry is to leverage the obvious advantages that money can buy and use these to improve the general standard of the fare on offer. Despite a positive outlook on the Chinese film market, SILAKONG pointed out that the popularity of Chinese films is on a downward slide in Thailand. Five panelists from the Chinese Mainland and Hong Kong SAR, Mr. LI Yansong, President of iQIYI Motion Pictures and Vice President of iQIYI.com, Inc; Mr. HAO Bin, Executive Director and Chairman of the Board, SMI Culture Group Holdings Ltd.; Mr. Cary CHENG, Deputy General Manager of Wanda Media Co., Ltd; Mr. CT YIP, Executive Director of Media Asia Group Holdings Limited, CEO of Lai Sun Group and Mr. Bin CHEN, Senior Vice President of DMG YinJi Film, Television, Entertainment & Media Company Limited, further discussed the challenges and opportunities from their respective perspectives. LI is positive about the Chinese film market; he said that last year we were discussing the future of Chinese films in the context of Asia, this year we are looking at global possibilities. Yet, this indeed is a marker of fast-paced growth. YIP summarized that China’s box-office success is certainly a phenomenon worth celebrating. CHENG highlighted that the obstacles for co-productions is difficult to overcome as it is not only the integration of the capital, but it also involves finding subjects that cater to audiences from both sides. In contrast, CHEN stressed that, “As long as we have a shared value of humanity and want to entertain people, we could work with people, irrespective of their color, culture and ethnicity.” HAO said, “We work with a huge population of consumers, filmmakers, writers — people who generate content — and win status for the Chinese film industry from around the world.”
2016-03-17“Revenue from China’s box office sales is only second to box office revenue in the US,” said Zhou Li, publisher and editor-in-chief of China Daily Asia Pacific. China’s box office generated $6.8 billion last year, still trailing the $11 billion in the US but growing faster. Zhou was speaking on March 16 at the China Daily Asia Leadership Roundtable held during the Hong Kong International Film & TV Market (Filmart) to discuss the opportunities brought about by the globalization of China’s film industry. It was telling that the event was held in Hong Kong, which has long played a role as a bridge and a financing center. “Hong Kong has, in the last 30 or 40 years, been preparing itself for the emerging market of China,” said Wilfred Wong Ying-wai, chairman of the Hong Kong International Film Festival Society. “Hong Kong has been and will always be a hub.” Wong believes Hong Kong is a natural gathering point for the industry, something the Asian Film Awards Academy, of which he is also chairman, aims to support by promoting “collaboration between people and filmmakers … we need to make sure these films can reach the audience”. China’s own audience is increasingly important to filmmakers. Between 2010 and 2015, box office revenues grew 353 percent, said Michael Ellis, president and managing director for Asia Pacific with the Motion Picture Association. “Get ready for the ride,” said Ellis, who called for a more even playing field for domestic and foreign films, fewer restrictions and longer screen times — Chinese films typically air for 47 days compared to 30 for foreign ones. One way to get past these barriers is to work together, as South Korea is doing. A new free trade agreement is also helping. “Cooperation between China and Korea has stepped up recently,” said Park Keun-tae, CEO and president for China at CJ Group, which produces and distributes films through its CJ E&M division and has operations in China and parts of Southeast Asia. “The culture content business is one of the driving forces of the international economy. Our core focus is to localize based on our knowledge, our culture and IT,” said Park. “Localization takes into consideration the local culture.” China’s film industry is still in the process of maturing. Ma Runsheng, vice-president of the China Television Drama Production Industry Association, pointed out that compared to Hollywood, the film industry is still weak. “A lot of money does not mean that it is very mature,” he said. “China, as far as the film industry is concerned, is still a developing market, not a developed market. “We have reached an age of huge expansion, rapid expansion,” Ma added. The industry should continue to evolve thanks to both private and government efforts that include new policies to eliminate licenses, remove the need for pre-screening by government censors and better regulate advertising. While filmmakers from abroad are looking for more exposure in China, the opposite is also true. Film festivals can help drive this mutual exposure. There are more than 3,000 film festivals around the world but just two official events in the Chinese mainland, said Jeane Huang, former director of the Taipei Film Festival. “Film festivals are a perfect window to other cultures,” said Huang. “For filmmakers, (festivals) are a perfect place for networking or to show your work.” In the 1980s, Thai audiences would go to see any Chinese films, most of which were made in Hong Kong, said Kriengsak Victor Silakong, director of the World Film Festival of Bangkok. That quickly changed in the 1990s, however, when the popularity of Chinese films declined. Thailand is making 50 or 60 films annually, some in cooperation with other Asian countries. The problem there is access to theaters, with just two big chains controlling virtually all screens. “We must know more what are the needs and the likes of local audiences,” said Amy Liu, a member of the organizing committee office of the Beijing International Film Festival. “This is very helpful for Chinese films to go international.” This internationalization of Chinese films is key but difficult to achieve. “When we speak of the internationalization of film and the opportunities it brings, we must know that films are very unique products,” said Chen Bin, senior vice-president of DMG YinJi Film, Television, Entertainment & Media Company. “Catching up is not our aim. We aim to surpass,” Chen said. “We cooperate with any filmmakers that will give us a way into the world.” The growth of the industry can certainly be a boon for companies that can tap into it, said Hao Bin, executive director and chairman of SMI Culture Group, one of China’s largest filmmakers. “The Chinese film industry has benefitted from government policies that stimulate rapid growth,” said Hao. At the same time, “there is a huge population of consumers and this is a huge bonus for the industry”. A third factor driving growth, he said, is a large pool of writers, producers, filmmakers and other talent. “We are learning from each other, Hollywood and us,” Hao said. “As an investor, we focus first of all on our domestic market. Second, we want our films to be distributed on the international market.” One example of a successful film in China is The Mermaid, which broke box office records since opening last month and became the highest grossing Chinese film of all time, but has had limited reach abroad. Eventually the Chinese market will overtake the US but when that happens is less important, said CT Yip, executive director of the Media Asia Group. “There is no question that we will become the number one market. The question is what happens after,” Yip said. “Everyone has their eyes on the number one prize. And growth is likely to be a two-way affair. “Hollywood goes to China and China goes to Hollywood. This is a dual thing,” said Yip. “Capital goes where the market is.” A word of caution, he said, is that economic growth does not always translate into art — and movies — with global appeal. Wanda Media is trying to minimize the problems that this lack of correlation creates by investing in high-quality content creators while also tapping into universal values. Cary Cheng, deputy general manager at Wanda Media, said: “If we excel in the pan-China market this is good enough. This has been a target for Wanda for a few years and we have had good results.” The company funded and produced the movie Southpaw (2015), about a boxer played by Hollywood star Jake Gyllenhaal, to good success. “Last year, the focus (of this forum) was ‘opportunities and challenges’. This year we only have opportunities,” said Li Yansong, president of iQIYI Motion Pictures. The numbers bear this out, he said, but production and distribution channels are as important as content. Big-budget Chinese films don’t always sell very well, for the time being, even if the domestic market is big enough to generate profits. “The Chinese film industry is certainly developing very fast and on a scale that is attracting the attention of the world,” Li added. Source: http://www.chinadailyasia.com/2016-03/18/content_15403160.html
2016-03-17With the fast development of the Chinese market, film festivals in China are becoming more significant, said Amy Liu Xinying, co-founder and senior vice president of EntGroup Inc, a leading research center of the mainland entertainment industry. Liu was speaking at the China Daily Asia Leadership Roundtable themed as “International Opportunities Brought by China Film Industry’s Globalization.” Liu, who is also a member of the Organizing Committee Office of the 2016 Beijing International Film Festival (BJIFF), revealed that one of the highlights of this year’s BJIFF is “Project Pitches” — a platform to link up high-quality film projects with strong market potential with film investors. This year, about 630 projects have applied, an increase of 40 percent over last year. Liu said mainland film festivals usually focus on film promotion but foreign film festivals are a channel of buying film copyright. The function of Project Pitches is more like overseas film festivals, Liu said, the only difference being the event focuses on buying the movie at early stages of production. She believes it is an opportunity for the globalization of Chinese film festivals and movie makers. Though the BJIFF is just in its sixth year, Liu said its social impact has been among the most significant in the world, thanks to the fast-growing Chinese market. Data from EntGroup reveal that China’s box office takings reached 6.87 billion yuan ($1.06 billion) in February, up 67.19 percent year on year. Liu said that is the highest total ever and estimates the record will be broken again in July. She observed the booming market has attracted many international film makers to the nation. Chinese film companies used to go overseas looking for projects, but now they are coming back home, she noted. “Moreover, foreign film studios are expanding their office size and manpower in China, from just one or two staff to a team of dozens, and are working on local projects.” As more and more co-produced films hit mainland screens, local film companies are expanding their international influence through cooperation and acquisition. Liu has participated in many such projects and found the Western industry is usually amazed by some of the film business models from China. For instance, online ticket sales is a fast-growing phenomenon, Liu said. EntGroup data show 57.5 percent of tickets were sold online in China last year, compared with just 20 percent in the US. Liu believes the spread of the Internet, especially mobile Internet, is an advantage for the Chinese film industry in its quest for globalization, but there are also some risks. The Internet has brought some innovative channels of fundraising, such as crowd-funding, but Liu warned that such channels could disrupt the development of the sector if people buy film tickets for financial speculation rather than actual interest in watching the film. Source: http://www.chinadailyasia.com/2016-03/18/content_15403013.html
2016-03-17中国日报于3月16日第四次携手香港国际影视展,举办题为“中国电影业全球化的世界机遇”的专题研讨会,吸引逾200位业界精英人士参与。图为论坛现场。 中国日报网3月16日香港电 2016年3月16日,香港-中国日报亚洲领袖圆桌论坛第四次携手香港国际影视展,举办题为“中国电影业全球化的世界机遇”的专题研讨会。本次论坛聚集十二位来自亚洲的电影业领军人物,共同探讨香港及亚洲电影业应该如何把握中国电影业全球化所带来的机遇,吸引逾 200 名参会者出席。 中国电影票房2015年突破四百亿人民币,国产片首次占逾六成。 2016年春节档票房更是屡创新高。至2020年,中国电影票房预计将突破一千亿大关,超越北美成为世界第一大电影市场。中国电影业的全球化激起与好莱坞丶英国、印度、日本及韩国等电影大国的一系列战略性合作,涉及内容、知识产权、人才、资金、技术、发行渠道等。 本届论坛围绕三大视角进行深入浅出的探讨。第一节的演讲嘉宾有香港国际电影节协会主席、亚洲电影大奖学院主席及香港电影发展局副主席王英伟博士,美国电影协会资深副总裁暨亚太区区域总监艾理善先生,CJ集团大韩通运总裁兼CJ集团中国区总裁朴根太先生及中国广播电影电视节目交易中心原总裁、中国电视剧制作产业协会副会长马润生博士,他们从环球视角剖析中国电影发趋展势。 香港国际电影节协会主席、亚洲电影大奖学院主席及香港电影发展局副主席王英伟博士表示现今电影业的发展与过去有很大不同,这种进步与不断融合为整个行业带来了更多的活力与机遇。除了科技因素,电影业有着更多的人文互动与交流,中国电影业的不断壮大,会使香港、亚洲及全球的电影业更加充满活力与希望。 美国电影协会资深副总裁暨亚太区区域总监艾理善先生指出中国电影业的发展与进步是大家有目共睹的,并且中国很可能在2017年超过美国,成为全球票房第一大国。因此,中国电影业目前所提供的机遇,我们应该全力把握。 CJ集团大韩通运总裁兼CJ集团中国区总裁朴根太先生认为中国电影的发展与其不断创新的理念息息相关,此外,也与其不断开展对外合作密不可分。目前,韩国电影业与中国有着很多的合作与共享,随着中国电影业的全球化发展,未来这些合作还将更加深入。 中国广播电影电视节目交易中心原总裁、中国电视剧制作产业协会副会长马润生博士就中国的票房数字及电影院线发展为切入点,他认为随着中国电影市场的不断开放,全球合作机会将会越来越多。 第二节的演讲嘉宾有原台北电影节总监、第九届亚洲电影大奖评审、第二十八届东京国际影展评审黄鸿端女士、曼谷世界电影节总监克林萨先生及北京国际电影节组委会办公室成员、艺恩咨询合伙人兼高级副总裁刘新颖女士,以电影节视角为出发点,探讨电影行业发展机遇。 北京国际电影节组委会办公室成员、艺恩咨询合伙人兼高级副总裁刘新颖女士指出中国电影业蓬勃发展将会为整个行业带来更多发展机遇,并且通过各大电影节的交流与互动来加深合作。 原台北电影节总监丶第九届亚洲电影大奖评审、第二十八届东京国际影展评审黄鸿端女士从电影制作和观众的双重角度阐述了中国电影业的发展影响,她表示更多的互动与沟通会给整个电影行业带来更多合作机遇。 曼谷世界电影节总监克林萨先生表示中国电影业迅猛发展,但在中国电影“走出去”这一步还有更多的空间,应着力把握,如此会带动整个亚洲电影业的发展。 第三节的演讲嘉宾有爱奇艺副总裁、爱奇艺影业总裁李岩松先生,星美文化集团控股有限公司执行董事及董事局主席郝彬先生,万达影视传媒有限公司副总经理郑剑锋先生,寰亚传媒集团有限公司执行董事、丽新国际行政总裁叶采得先生及DMG印纪娱乐传媒集团高级副总裁陈彬先生。嘉宾们从电影业界的角度,就中国电影业全球化所带来的国际投资机遇进一步深入讨论。 DMG印纪娱乐传媒集团高级副总裁陈彬先生表示作为电影投资方,关键在于看准时机,加强合作,合作才会共赢。中国电影目前发展势头迅猛,如果能够加强沟通、加深合作,全球化的合作机会将会越来越多,整个行业发展也会越来越好。 星美文化集团控股有限公司执行董事及董事局主席郝彬先生指出目前中国电影不断发展壮大,电影投资方也有越来越多的发展机会,全球化发展的这些机遇值得把握,从而去创造更多价值。 寰亚传媒集团有限公司执行董事、丽新国际行政总裁叶采得先生认为中国电影业发展带来的机遇是前所未有的,对电影业的投资也越来越多,作为投资方我们有信心看到未来的美好前景。 万达影视传媒有限公司副总经理郑剑锋先生表示目前电影业的蓬勃发展带来了很多机遇,除了电影投资,电影人才培养也是重中之重。如果业界能够加强合作,未来发展令人看好。 爱奇艺副总裁、爱奇艺影业总裁李岩松先生表示中国电影业飞速发展,与互联网也有着密切联系,并且着重强调了电影的发行渠道。他认为更加多元化的发行渠道会促进整个电影市场的发展,而多元化的发行渠道有赖于业界的深入合作。 中国日报社拥有报纸、网站、移动客户端、脸谱、推特、微博、微信、电子报等十余种媒介平台,全媒体用户总数累计约4100万;发行量90万份,其中海外60万份;网站日均访问量PV)5200万,全球移动客户端用户达600万;在海外,通过每月发行400余万份海外供版的《中国观察报》(China Watch),直达《华尔街日报》、《华盛顿邮报》、《每日电讯报》、《费加罗报》、加拿大《环球邮报》、泰国《民族报》等美、欧、亚主流读者群。 中国日报亚洲领袖圆桌论坛(www.cdroundtable.com)是一个由亚洲国家和地区的政、商、学界领袖和社会精英参与的高端对话和交流平台,围绕亚洲地区经济、商业、产业和社会发展等具有战略影响的重要议题展开讨论,至今在港、澳和亚太多国已经举办了40余届,逾万名决策精英参与。 Source: http://ent.chinadaily.com.cn/2016-03/16/content_23897995.htm
2016-03-16Asian Film Pundits Applaud International Growth Brought by China Film Industry's Globalization Hong Kong – Approximately 200 delegates from movie industries around the world movie industry attended the China Daily Asia Leadership Roundtable Panel on “International Opportunities Brought by China Film Industry’s Globalization” from 10.00AM to 12.00PM at FILMART. We are delighted to work with the Hong Kong Trade Development Council again as Media Partner for FILMART 2016 for the fourth consecutive year. China’s film industry grossed more than 40 billion RMB in 2015, for the first time with over 60 percent coming from domestic production. The 2016 Chinese New Year witnessed phenomenal increases in 287 million RMB box office takings. China’s box office is expected to reach 100 billion RMB in 2020, surpassing North America to become the world’s largest film market. The rapid globalization of China’s film industry has recently led to strategic deals with the world’s largest film markets including Hollywood, the UK, India, Japan and Korea on content, intellectual property, talent, capital, technology and distribution channels. Speakers: Dr.Wilfred WONG Ying-Wai, Chairman of Hong Kong International Film Festival Society, Chairman of Asian Film Awards Academy &Deputy Chairman of Hong Kong Film Development Council Mr. Michael C. ELLIS, President & Managing Director of Asia-Pacific Region Motion Picture Association Mr. Keun-tae PARK, CEO & President of CJ Korea Express and CJ Group China Headquarters Ms. Amy LIU, Member of Organizing Committee Office of Beijing International Film Festival, Co-Founder & Senior Vice President of EntGroup Ms. Jeane HUANG, Former Director of Taipei Film Festival, Jury of 9thAsian Film Awards, Jury of 28thTokyo International Film Festival Mr. Kriengsak Victor SILAKONG, Festival Director of World Film Festival of Bangkok Mr. LI Yansong, President of iQIYI Motion Pictures and Vice President of iQIYI.com, Inc Mr. HAO Bin, Executive Director and Chairman of the Board, SMI Culture Group Holdings Ltd. Mr. Cary CHENG, Deputy General Manager of Wanda Media Co., Ltd Mr. CT YIP, Executive Director of Media Asia Group Holdings Limited, CEO of Lai Sun Group Dr. MA Runsheng, Former President of China Radio, Film and Television Program Exchange Center, Vice President of China Television Drama Production Industry Association About China Daily Asia Leadership Roundtable The China Daily Asia Leadership Roundtable is a by-invitation network of movers and shakers in Asia providing platforms for focused dialogue, issue investigation, and possible collective action on strategic issues relating to economic, business and social development in Asia. Our aim is to enhance communication and increase mutual understanding between China, Asian and Western countries. Roundtable events are held in major cities across Asia. Source:http://www.alivenotdead.com/alivenotdead/china-daily-roundtable-at-filmart-international-brought-by-china-film-industrys-globalization
2016-03-16亞洲電影領軍人物齊聚中國日報論壇 共同探討「中國電影業全球化的世界機遇」 2016年3月16日,香港-中國日報亞洲領袖圓桌論壇今日第四次攜手香港國際影視展,舉辦題為「中國電影業全球化的世界機遇」的專題研討會。是次論壇聚集十二位來自亞洲的電影業領軍人物,共同探討香港及亞洲電影業應該如何把握中國電影業全球化所帶來的機遇,吸引逾 200 名參會者出席。 中國電影票房2015年突破四百億人民幣,國產片首次占逾六成。 2016年春節檔票房更是屢創新高。至2020年,中國電影票房預計將突破一千億大關,超越北美成為世界第一大電影市場。中國電影業的全球化激起與好萊塢丶英國、印度、日本及韓國等電影大國的一系列戰略性合作,涉及內容、知識產權、人才、資金、技術、發行渠道等。 本屆論壇圍繞三大視覺進行深入淺出的探討。第一節的演講嘉賓有香港國際電影節協會主席、亞洲電影大獎學院主席及香港電影發展局副主席王英偉博士,美國電影協會資深副總裁暨亞太區區域總監艾理善先生,CJ集團大韓通運總裁兼CJ集團中國區總裁朴根太先生及中國廣播電影電視節目交易中心原總裁、中國電視劇製作產業協會副會長馬潤生博士,他們從環球視角剖析中國電影發趨展勢。 香港國際電影節協會主席、亞洲電影大獎學院主席及香港電影發展局副主席王英偉博士表示現今電影業的發展與過去有很大不同,這種進步與不斷融合為整個行業帶來了更多的活力與機遇。除了科技因素,電影業有著更多的人文互動與交流,中國電影業的不斷壯大,會使香港、亞洲及全球的電影業更加充滿活力與希望。 美國電影協會資深副總裁暨亞太區區域總監艾理善先生指出中國電影業的發展與進步是大家有目共睹的,並且中國很可能在2017年超過美國,成為全球票房第一大國。因此,中國電影業目前所提供的機遇,我們應該全力把握。 CJ集團大韓通運總裁兼CJ集團中國區總裁朴根太先生認為中國電影的發展與其不斷創新的理念息息相關,此外,也與其不斷開展對外合作密不可分。目前,韓國電影業與中國有著很多的合作與共享,隨著中國電影業的全球化發展,未來這些合作還將更加深入。 中國廣播電影電視節目交易中心原總裁、中國電視劇製作產業協會副會長馬潤生博士就中國的票房數字及電影院線發展為切入點,他認為隨著中國電影市場的不斷開放,全球合作機會將會越來越多。 第二節的演講嘉賓有原臺北電影節總監丶第九屆亞洲電影大獎評審、第二十八屆東京國際影展評審黃鴻端女士、曼谷世界電影節總監克林薩先生及北京國際電影節組委會辦公室成員、藝恩諮詢合夥人兼高級副總裁劉新穎女士,以電影節視角為出發點,探討電影行業發展機遇。 北京國際電影節組委會辦公室成員、藝恩諮詢合夥人兼高級副總裁劉新穎女士指出中國電影業蓬勃發展將會為整個行業帶來更多發展機遇,並且通過各大電影節的交流與互動來加深合作。 原臺北電影節總監丶第九屆亞洲電影大獎評審、第二十八屆東京國際影展評審黃鴻端女士從電影製作和觀眾的雙重角度闡述了中國電影業的發展影響,她表示更多的互動與溝通會給整個電影行業帶來更多合作機遇。 曼谷世界電影節總監克林薩先生表示中國電影業迅猛發展,但在中國電影“走出去”這一步還有更多的空間,應著力把握,如此會帶動整個亞洲電影業的發展。 第三節的演講嘉賓有愛奇藝副總裁、愛奇藝影業總裁李岩松先生,星美文化集團控股有限公司執行董事及董事局主席郝彬先生,萬達影視傳媒有限公司副總經理鄭劍鋒先生,寰亞傳媒集團有限公司執行董事、麗新國際行政總裁葉采得先生及DMG印紀娛樂傳媒集團高級副總裁陳彬先生。嘉賓們從電影業界的角度,就中國電影業全球化所帶來的國際投資機遇進一步深入討論。 DMG印紀娛樂傳媒集團高級副總裁陳彬先生表示作為電影投資方,關鍵在於看準時機,加強合作,合作才會共贏。中國電影目前發展勢頭迅猛,如果能夠加強溝通、加深合作,全球化的合作機會將會越來越多,整個行業發展也會越來越好。 星美文化集團控股有限公司執行董事及董事局主席郝彬先生指出目前中國電影不斷發展壯大,電影投資方也有越來越多的發展機會,全球化發展的這些機遇值得把握,從而去創造更多價值。 寰亞傳媒集團有限公司執行董事、麗新國際行政總裁葉采得先生認為中國電影業發展帶來的機遇是前所未有的,對電影業的投資也越來越多,作為投資方我們有信心看到未來的美好前景。 萬達影視傳媒有限公司副總經理鄭劍鋒先生表示目前電影業的蓬勃發展帶來了很多機遇,除了電影投資,電影人才培養也是重中之重。如果業界能夠加強合作,未來發展令人看好。 愛奇藝副總裁、愛奇藝影業總裁李岩松先生表示中國電影業飛速發展,與互聯網也有著密切聯繫,並且著重強調了電影的發行渠道。他認為更加多元化的發行渠道會促進整個電影市場的發展,而多元化的發行渠道有賴於業界的深入合作。 中國日報社擁有報紙、網站、移動客戶端、臉譜、推特、微博、微信、電子報等十餘種媒介平臺,全媒體用戶總數累計約4100萬;發行量90萬份,其中海外60萬份;網站日均訪問量PV)5200萬,全球移動客戶端用戶達600萬;在海外,通過每月發行400余萬份海外供版的《中國觀察報》(China Watch),直達《華爾街日報》、《華盛頓郵報》、《每日電訊報》、《費加羅報》、加拿大《環球郵報》、泰國《民族報》等美、歐、亞主流讀者群。 中國日報亞洲領袖圓桌論壇(www.cdroundtable.com)是一個由亞洲國家和地區的政、商、學界領袖和社會精英參與的高端對話和交流平臺,圍繞亞洲地區經濟、商業、產業和社會發展等具有戰略影響的重要議題展開討論,至今在港、澳和亞太多國已經舉辦了40餘屆,逾萬名決策精英參與。 ——完——
2016-03-16(February 25, 2016, Hong Kong) Monster Hunt has emerged as the highest-grossing Asian film of 2015 and will receive the AFA’s award for Highest-Grossing Asian Film of the year at the 10th Asian Film Awards (AFA) at The Venetian® Macao on March 17, 2016. The film is also competing for the “Best Visual Effects” and “Best Sound” in the coming awards ceremony. The 3D fantasy adventure film set in a world of humans and monsters is a skillful mix of live action and animation directed by Hong Kong-born Raman HUI who made his reputation in Hollywood with the Shrek franchise for DreamWorks Animation; and produced by Bill KONG, who has scored many successes globally with films such as Crouching Tiger, Hidden Dragon, and renowned film production and costume designer YEE Chung-man. The film also features a star-studded cast from Hong Kong and Mainland China, including BAI Baihe, JING Boran, Eric TSANG Chi-wai, Sandra NG Kwan-yu, JIANG Wu, YAN Ni, TANG Wei, Wallace CHUNG Hon-leung, and YAO Chen. The director said that the message of his tale of war and love between humans and monsters is "to understand differences, to see the world through others' eyes and to foster more understanding be-tween people and groups," a theme of acceptance that was welcomed at the box office. Upon it release in July 2015, Monster Hunt became a huge commercial success, breaking numerous box office records with an accumulated box office of RMB$2.438 billion (US$382 million) in China. It surpassed Hollywood blockbusters, such as Furious 7 and Transformers: Age of Extinction, to be-come the highest-grossing film in China of all time; and broke the records of Chinese movies released in the same year, including From Vegas to Macau II and Jian Bing Man, to emerge as the highest-grossing Asian Film of 2015. Organized by the Asian Film Awards Academy (“AFA Academy”), the Asian Film Awards (“AFA”) will celebrate its 10th anniversary this year. For this edition, 77 nominations have been made for 15 awards. The nominations represent 36 films from 10 countries. World-renowned Hong Kong director Dr. Johnnie TO Kei-fung will serve as this year’s Jury President and lead a jury comprising our two charismatic and popular celebrity jurors, Hong Kong actor Mr. Sean LAU Ching-wan and mainland Chinese actress Ms. GAO Yuanyuan, as well as 12 respected film industry professionals, festival programmers and critics from all over the world. Sponsored by Sands Resorts Cotai Strip Macao and The Venetian Macao, with Cotai Water Jet as the official ferry operator, the 10th Asian Film Awards will be held at one of the world’s leading in-tegrated resorts and must-see destination, The Venetian Macao, on March 17, 2016 (Thursday). Details of the 10th Asian Film Awards Ceremony: Date: March 17, 2016 (Thursday) Venue: The Venetian Theatre, The Venetian Macao (Estrada da Baía de N. Senhora da Esperança, s/n, Taipa, Macao SAR) For media online registration, please kindly visit the following link. http://www.asianfilmawards.asia/media/media-accreditation/ Asian Film Awards (AFA) Inaugurated in 2007, the Asian Film Awards celebrates excellence in Asian cinema through the annual presentation of awards to talents and films that make up the dynamic film industries of Asia. Awards night is a spectacular gathering of stars, celebrities, industry professionals and the media that highlights and publicizes the year’s achievements in Asian movies. Presented in Hong Kong in its first seven years, the Awards moved to one of Asia’s fastest growing entertainment hubs, Macau, in 2014 – one step closer to its long-term plan of being held in different Asian cities to reflect its broad reach across the entire region. Asian Film Awards Academy (AFAA) In 2013, three main Asian film festivals - Busan, Hong Kong and Tokyo - joined together to create the non-profit organization, the Asian Film Awards Academy to promote and develop Asian cinema and its talents. The AFA Academy highlights, strengthens and develops Asian film industry and culture through the annual Asian Film Awards, and several year-round initiatives including strategies for building regional and international audiences. Members of the AFA Academy are drawn from all past nominees and winners of the Asian Film Awards. Members vote for the Asian Film Awards and also participate in various AFA Academy activities involving film professionals and audiences in Asia and around the world. In 2015, the AFA Academy launched events and activities including the Masterclass Series, Journey to the Fest, Asian Cinerama and Young Film Professionals Program to promote, educate, inform and develop knowledge, skills and interest in Asian cinema among the industry,students and audiences in Asia and beyond. The AFA Academy expresses the increasing global importance and creative strengths of Asian films and aims to unite the industries and talents of the fast-growing region. About Sands Resorts Cotai Strip Macao – Sands China’s Integrated Resort City Sands China Ltd. is the leading developer, owner and operator of integrated resorts in Macao. The befittingly named Sands Resorts Cotai Strip Macao, situated on reclaimed land between the islands of Coloane and Taipa, is the one destination that provides a stunning array of experiences at the heart of Cotai. Sands Resorts Cotai Strip Macao has transformed a day-trip market into an integrated resort city and international hub for business and leisure travellers. Pulsating with life, both night and day, Sands Resorts Cotai Strip Macao features an expansive offering of affordable luxury available nowhere else in Macao, with approximately 9,000 hotel rooms and suites, international superstar live entertainment, duty-free shopping with more than 650 retailers offering an unparalleled array of name brands, 1.5 million square feet (140,000 square metres) of meeting and exhibition space for Asia’s leading conferences and exhibitions, transportation offerings and well over 100 dining options, including Michelin-starred restaurants, bars and lounges. Sands Resorts Cotai Strip Macao is a must-go destination providing every guest with an unforgettable experience and unparalleled excitement. Comprised of The Venetian® Macao; The Plaza™ Macao, featuring the Four Seasons Hotel Macao; and Sands® Cotai Central, featuring the world’s largest Conrad, Sheraton, and St. Regis hotels as well as the Holiday Inn. Sands Resorts Cotai Strip Macao is where Asia’s ultimate destination is all within reach. And coming in 2016... the crowning achievement of Sheldon G. Adelson’s vision of the Cotai Strip… The Parisian Macao. Sands Resorts Cotai Strip Macao… Beat the Centre of It All! For more information, please visit http://en.sandsresortsmacao.com. Comprised of The Venetian® Macao; The Plaza™ Macao, featuring the Four Seasons Hotel Macao; and Sands® Cotai Central, featuring the world’s largest Conrad, Sheraton, and Holiday Inn hotels, Sands Resorts Cotai Strip Macao is where Asia’s ultimate destination is all within reach. And coming in late 2015... the crowning achievement of Sheldon G. Adelson’s vision of the Cotai Strip… The Parisian Macao. SandsResorts Cotai Strip Macao… Be at the Centre of It All! For more information, please visit http://en.sandsresortsmacao.com. About The Venetian® Macao Opened in 2007, The Venetian® Macao is Macao's first integrated resort featuring stunning replicas of the famous canals and architectural icons of Venice, Italy. The Venetian Macao features 3,000 suites, 1.2 million square feet (111,000 square metres) of convention and meeting facilities as well as a 15,000-seat Cotai Arena designed for world-class sports events and electrifying entertainment. The Venetian Macao is also home to the unique, 1,800-seat luxury Venetian Theatre, hosting the best in international and Chinese entertainment; more than 30 renowned restaurants; TAIVEXMALO Day Hospital & Spa; the incredibly fun QUBE indoor playground and more than 350 retailers at Shoppes at Venetian. Outdoor recreation areas include swimming pools and cabanas and a mini-golf course. For more information, please visitwww.venetianmacao.com. About Cotai Water Jet Launched in November 2007, Cotai Water Jet is a premium high-speed ferry service between Hong Kong and Macao. As of December 2015, the maritime jet fleet has serviced more than 52 million passengers and in 2015 averaged approximately 89 daily sailings. Its 14 custom-built catamarans have the capacity to carry more than 400 passengers each and operate at top speeds of approximately 42 knots. Passengers on Cotai Water Jet have a choice of three classes of service as well as direct sailings between ports in Macao, Taipa, Hong Kong, Kowloon and Hong Kong International Airport, thus providing an important transportation option for both locals and visitors to Macao. The Cotai Water Jet service is managed and operated on behalf of owner Sands China Ltd. by Chu Kong High Speed Ferry Co. Ltd. of Hong Kong. For more information, including sailing schedule and fares, please visit www.cotaiwaterjet.com. Taipa Village Macau Taipa village, home to the Portuguese architecture, is the historical part of Taipa and the best preserved area in the south of the island. It seeks to be the new landmark in Macau – a dynamic leisure destination infused with niche shopping, innovative dining, diversified entertainments and heritage attractions. The cultural-blended destination defines an opulent mixture of heritage and modernity, where east meets west. It is a living village with real-life stories to tell – a place where people live and work, redefining the memories of the local residents who have witnessed the changes of the island over these decades. Visitors can taste a sumptuous selection of authentic cuisines, from local Chinese delights to continental flair infused with Portuguese and Spanish flavors. While being away from the glitz and vibrancy of the casinos resorts along Cotai strip, Taipa Village is only walking distance from the resorts which make traveling very accessible.
2016-02-25HONG KONG - Female leaders from across Asia who gathered for a high-profile roundtable discussion in Hong Kong appealed for all women to present the best of themselves, dream big and press ahead for greater achievements so as to make contributions to the common good. Business, politics and entertainment were sectors represented as the eight high-achievers gathered to receive the 2016 Asian Women Leadership Awards on Jan 19. The award, jointly initiated by China Daily and the Asia News Network of 22 media groups, honors successful women who are role models in entrepreneurship, innovation and charity, and are dedicated to making changes in their societies. This year’s eight trailblazing awardees expressed their views at the China Daily Roundtable themed Leading Asia: Women as Change Agents, Innovators and Entrepreneurs, held alongside the Asian Financial Forum at the Hong Kong Convention and Exhibition Centre. Delivering the welcome address, Zhou Li, editorial board member of the China Daily Group, said: “The late chairman Mao (Zedong) once said, ‘women hold up half the sky’. We strongly believe women could do much more than that. They make a difference.” Untapped talents “In Asia and in Hong Kong as well, women make up half of the working population,” said Raymond Yip, deputy executive director at the Hong Kong Trade Development Council. “The number of women in leadership positions is growing. But there are still untapped female talents, for leadership and innovative roles in particular. We expect more women to take these roles and encourage more of their peers to march forward.” The awardees then had their say. Pansy Ho, managing director of Shun Tak Holdings Ltd and daughter of Macao gambling tycoon Stanley Ho, said: “We should not be afraid of our own power. Instead of controlling and constraining our abilities, we need to learn how to utilize it, at the right moment, to achieve not just for ourselves but also for the larger welfare of the communities we live in.” “We need to be more occupied and make other people’s dreams come true as well. This is still the motto for me,” Ho added. Chadatip Chutrakul, chief executive officer at Siam Piwat Company Ltd noted how women in her country are luckier than many others. “Women in Thailand are lucky, because we don’t have the gender issue,” Chutrakul said. “However, I was taught that whatever I do, I need to do my best. It’s up to us to prove ourselves.” The boss of the Thai retail and development giant then added: “We need to make changes, not just as a mother or a daughter or even for a company, but for the good of the country.” Commemorative China Daily front pages bearing the image and bio of each awardee are lined up for display. (Photo by Edmond Tang, China Daily) Christine Loh, under secretary for the environment of the Hong Kong SAR government, channeled the old adage about how a job worth doing is worth doing well. “No one is obliged to do anything. But remember, whatever you choose to do, you have to do it very well,” said Loh. “It’s important to be adaptive. Sometimes you just need to go with the flow and that could be a great learning opportunity,” she added. Miriam Yeung, the celebrated Hong Kong actress and singer, told the audience that her success is “a mix of commitment, persistence and courage”. “Nothing is impossible. I believe there’s always a way,” Yeung said. “I’ve never given up on my career.” While hard work is important, it is equally important to change perceptions, pointed out Dianna Lee, group chief executive officer at Malaysia’s Country Heights Holdings Berhad. Lee acknowledged that for women who are multi-tasking, it is key to be result-driven instead of dedicating all their time to work. “As long as you can deliver, you are a good worker,” she said. Jing Ulrich, vice chairman of Asia Pacific at JPMorgan Chase & Co emphasized that for women, it is key to find a passion for life. “For me, success is simple. It’s about passion, perseverance and confidence,” Ulrich said. “And education is important,” she added. “When I graduated from Harvard, I graduated with confidence. It’s key to young women especially. No one would have confidence in you if you don’t even have faith in yourself.” Bridge differences Benedicte Nolens, senior director and head of risk and strategy at the Hong Kong Securities and Futures Commission, told the audience that women who want to have a career need to take risks to seize opportunities as they emerge. But it is also necessary to accept that women and men are different, she pointed out. “Women are equal to men, until they need to have babies,” she said. “We need to find work-life balance and our support network in order to reach higher achievements.” Nolens said her way is to turn to Women in Finance Asia, a charity that brings together female professionals in the financial services industry to foster mutual support and growth. “It allowed me to get over a difficult period in my career,” she added. Audience observing the 2016 Asian Women Leadership Awards. (Photo by Edmond Tang, China Daily) The reality is that women tend to drop out of the workforce as they grow older. Rebecca Brosnan, managing director and head of product development at Hong Kong Exchanges and Clearing (HKEx), told the audience that in the 25 to 29 age group, labor participation for women is 84 percent. But by the time they reach 55, less than half, or 45 percent, are seen to be still working. In Hong Kong, 30 percent of married women leave the workforce to care for children, aging parents or for other family obligations. “If women are cut off midway (in their careers), it’s really difficult to get back,” Brosnan said. She highlighted the Back to Work Programme launched by the HKEx to reengage female professionals who may have left the workforce for a few years. The program is in its third year and Brosnan called upon all female talents to return to the work force. “We are running the program for the third year,” she said. “We have got about 100 applications from mothers who have been raising their kids for a few years. We’ve hired many. And I would encourage all the women who have left workforce to come back.” Source: http://www.chinadailyasia.com/2016-01/22/content_15376658.html
2016-01-22Women need to be confident and ambitious in terms of assuming leadership roles at work, according to Jing Ulrich, managing director and vice-chairperson for Asia Pacific at JPMorgan Chase & Co. “If you look at the CEOs and board directors across Asia, you will see the gender gap between male and female leaders remains very wide,” Ulrich told China Daily on the sidelines of the China Daily 2016 Asian Women Leadership Awards & Roundtable on Jan 19. “However, I think Hong Kong is a more diverse society than many other Asian societies. While society and employers can provide support, the most important thing is that women must have the ambition and confidence to take on leadership roles themselves,” she said. In terms of taking up leadership roles, women must also have the desire to do so, Ulrich said. If they have the ambition to be a CEO, let it be known. They need to speak up, be dedicated and work hard toward that goal, she said. Ulrich urged women to pluck up the courage and confidence in themselves to face the next challenge. Of course, the external environment, society or employers can provide support, but first and foremost, women need to be self-confident. “For me, personally, confidence is not something you are born with. It’s something that you gain from your experience and knowledge. I didn’t have that much confidence when I went to the US for college at a very young age, but through my education and work experience in the US and other international cities, I have built up my self-confidence over time.” Ulrich pointed out that practice helps build up confidence, while you also have to be very competent, as confidence comes with competence. You have to know what you are doing and you have to be good at what you are doing, she said. Ulrich believes that the general environment for professional women in Hong Kong has improved significantly, particularly in financial circles. She added that Hong Kong is comparatively more conducive for professional women to succeed and many women in the financial sector have successfully moved up the ranks to secure top positions in their companies. A balanced lifestyle is crucial for a woman to succeed. “On a daily basis, life is about balancing and priorities, you need to have a balance between work and family, between work and leisure, between work and health,” she explained. For women, one of the fundamentals for success is good health. Ulrich said she still finds time to run about 1.5 hours on a treadmill every night at home. She never wastes any time, so she reads and watches news programs when she runs. Her advice to young women: Find something you love, be passionate about your work, but also remember there’s no short cut, you have to work very hard and don’t give up. Source: http://www.chinadailyasia.com/2016-01/22/content_15376639.html
2016-01-22