關於 hong kong 1970s photos ，我們在網路上蒐集到這些相關的討論、資訊與評價

係獅子山上聽住奏起嘅「獅子山下」深有感觸 - 我亦希望係歡笑多於唏噓 。⁣
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香港人曾以艱辛努力寫下那不朽香江名句。我哋必能再次踏平崎嶇。⁣
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同舟人，誓相隨 。無畏更無懼。⁣
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香港人，多謝你為我是次遠足畫上完美句號。⁣
#香港人加油
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📍Lion Rock, Hong Kong ⁣
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The can-do attitude of Hong Kong people has been referred to as the "Lion Rock Spirit" since 1970s. ⁣
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This is all because of a TV series - " Below the Lion Rock" (獅子山下) broadcasted by RTHK in 1974. The TV series illustrated the life stories of people from all walks of life in 1970s.⁣
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#explorehongkong_value⁣
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#hk #hongkong #🇭🇰 #香港 #hktravel #travelhk #hktravelbloggers #hongkongtravel #travelhongkong #hktrip #localhk #香港旅遊 #香港旅行 #explorehongkong #discoverhongkong #hkstyle #travelgram #香港好去處 #travelasia #hiking #行山 #獅子山 #explorehongkong_lionrock

Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue

自創刊以來，《攝影之聲》持續關注影像書寫、歷史與文化樣態，隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇，邀請攝影史研究者共同參與，推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿，在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中，作為攝影與歷史論述的反思與參照。

其中，金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置，揭示非主流的創作脈動，何以是日本攝影史論中需要補遺的重要章節；陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮，以及以日本攝影雜誌作為平台的競賽文化的可能影響，呈現出戰後台、日攝影界另類的民間交流場域；朴平鍾細述自日本殖民統治結束後，韓國攝影在現實主義與現代主義之間引發的論爭，疏理戰後韓國對於攝影認知的辯證與反省；戶田昌子析論1950年代的日本攝影表現，在脫離戰時的壓抑並逐漸獲得解放之後，受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印；張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識，檢視戰後台灣的影像操縱、治理機制，以及國族攝影史本身的建構和詮釋問題。

攝影，在與光學、化學、政治社會學、文化研究，乃至符號學與精神分析等學科譜系的結合中，已不斷延展、流動、重構，打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論，勾勒攝影理路的發展形貌，本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗，並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇，為濕版法在1850年代於香港興起的考據，展現不同的史料論證。

此外，本期我們特別專訪陳傳興，刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片，一探銀鹽與光交集而生的影像喻意，以及他不停思辨的攝影本質論題。同時，我們也介紹高重黎的聲音與投影裝置新作，析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元，本期專訪日本設計師森大志郎，分享他細膩的平面設計語彙。

儘管維持出版的路途艱辛，這些年我們仍努力在有限的資源下，持續進行資料考掘整理、訪談記錄等基礎工作，緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持，讓我們在新的一年裡，繼續探索未知的影像星河。

▍購買本期 BUY | http://bit.ly/vop-27

Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.

Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.

When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.

In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.

Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like to thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.

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Voices of Photography 攝影之聲
www.vopmagazine.com

🎶2018「提升生活品質」系列演講－人文素養系列🎶

~NTU Alumni Association Lecture Series: Humanities~
Lan-Ping Chou and Popular Huangmei Films

如何黃梅？怎樣歌曲？周藍萍黃梅調電影考論

1963年4月24日，香港邵氏公司黃梅調電影《梁山伯與祝英台》在臺北上演，連映62天，欲罷不能，掀起黃梅調戲曲電影的流行狂潮，導引這股風潮的，是出身臺灣的作曲家周藍萍（1926-1971）。周藍萍被視為臺灣國語流行歌曲的開創者，作品包括膾炙人口的〈綠島小夜曲〉、〈回想曲〉，又因《梁祝》拿下第十屆亞洲影展以及第二屆金馬獎最佳音樂。本次演講配合大量珍貴歷史錄音及影片，除了介紹周藍萍的音樂成就、分析周藍萍的電影音樂手法，並對照比較黃梅戲與周藍萍的黃梅調電影音樂，以呈現他對戲曲電影的思考及實踐。

時 間：2018年5月5日(六) 上午10~12時
地 點：臺大校友會館四樓演講廳 (臺北市濟南路一段2-1號)
（聯絡電話:02-2321-8415*9）
活動詳情：http://www.ntuaa.ntu.edu.tw/talk1070505.htm
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臺灣大學藝文中心—沈 冬 主任
學歷：臺灣大學中國文學研究所博士
美國馬里蘭大學民族音樂學研究所博士候選人
現職：臺灣大學藝文中心主任
臺灣大學音樂學研究所教授
經歷：臺大國際事務長
臺灣大學音樂學研究所所長、臺灣大學中文系教授
專長：音樂學
著作：《寶島回想曲──周藍萍與四海唱片》、《唐代樂舞新論》、《不能遺忘的杜鵑花——黃友棣》等多部專書
研究領域：中國音樂史、華語流行歌曲

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“The Butterfly Lovers,” a film released by the Shaw Brothers based in Hong Kong and shown in Taipei starting from April 24, 1963 for 62 days, generated island-wide enthusiasm for films sung in Huangmei tone. The enthusiasm for this film and music genre can be attributed to the Taiwanese musician, Lan-Ping Chou, who had been responsible for the film’s music and had received the 10th Asian Film Festival Award and the 2nd Golden Horse Film Festival Award for best music.

In this lecture, Director of the NTU Center for the Arts Tung Shen will introduce audiences to this film and music genre in Taiwan during the 1970s and 1980s. In addition to playing rare audio recordings and video clips to familiarize audiences with this genre, Director Shen will also discuss the musical achievements of Ping-Chou Lan and his rendition of Huangmei tone in the films.

Time: 10:00-12:00, Sat., May 5, 2018
Venue: Lecture Hall, 4F, NTU Alumni Association

More info (in Chinese): http://www.ntuaa.ntu.edu.tw/talk1070505.htm