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Legislative Council Panelon Information Technology and Broadcasting

Response to the “Revitalising Hong Kong Film Industry Report”

Purpose

This paper briefs Members on the Government’s response tothe proposals of the Federation of Hong Kong Film Workers’“Revitalising Hong Kong Film Industry Report”.

Background

2. The local film industry has been a vibrant and robust creativeindustry of Hong Kong for many years. Its economic contribution toHong Kong is enormous. However, the number of films produceddecreased significantly in the past few years due to the downturn of thelocal economy. In 2002, the number of local films released and theirbox office were only 92 and $352 million respectively.

3. In view of the various problems encountered by the filmindustry, the “Revitalising Hong Kong Film Industry Forum” wasorganised by the industry in September last year to tap views fromdifferent sectors on ways to renew the industry. After collating theinformation gathered, the industry prepared the “Revitalising Hong KongFilm Industry Report” (“Report” hereafter for short) which was submittedto Members in December 2002.

“Revitalising Hong Kong Film Industry Report”

4. Various proposals regarding the development of the filmindustry were made in the Report, which cover mainly the followingareas –

(i) the Government should play an active role in makinginfrastructural investment in film production so as to lay thefoundation for the long-term development of the filmindustry;

CB(1)986/02-03(06)

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(ii) set up a “Film Commission” to facilitate the formulation ofoverall policy on the film industry and related initiatives;

(iii) solve the film financing problem;

(iv) protect intellectual property rights;

(v) compile and publish objective box office records;

(vi) apply advanced information technology to strengtheninformation flow and management in the industry;

(vii) provide post-production facilities;

(viii) facilitate location shooting of films;

(ix) strengthen promotion of Hong Kong films overseas;

(x) explore the Mainland market; and

(xi) strengthen training within the industry and investment inhuman capital.

Government’s Response

5. After careful consideration of the Report, and taking intoaccount overseas practices, we accept in general the majority of theproposals in the Report. In fact, most of these proposals have alreadybeen implemented or began to bear fruits. As for the remainingproposals, our response can broadly be grouped into three categories –

(i) we hold no objection in principle to some of the proposals, buthave different views on its mode of implementation;

(ii) we keep an open mind regarding some proposals and considerthat careful examination is required before we come to anydecision; or

(iii) owing to different factors or consideration, we do not acceptsome proposals.

6. We have set out our detailed response to the proposals inAnnex I for Members’ consideration and comments.

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Film Policy

7. The Government’s film policy at present is to strive topromote the long-term and healthy development of the local film industry,and to champion Hong Kong as an international film production centre.To strengthen communication with the film industry, the Government hasset up the Film Services Advisory Committee (FSAC) in 1998. TheCommittee consists of experts from different sectors of the film industryand representatives from the relevant Government departments(membership list at Annex II). It is highly representative and capable ofadequately reflecting the views of the industry. The Committee providesinvaluable advice on the development of the film industry, such as filmfinancing, establishing guidelines on lane closures for location shooting,promoting Hong Kong films overseas, the administering of the FilmDevelopment Fund, setting up of a mechanism to regulate the use ofpyrotechnic materials for the safe production of special effects for filmproduction, etc. To further promote the close development of film andculture, we will invite a representative from the Home Affairs Bureau tosit on the FSAC, so as to better co-ordinate the formulation of relevantpolicies and resources allocation as well as to create synergy.

8. Our supportive measures to the film industry can be roughlycategorised into five areas, including provision of supportive services,financial support, infrastructural facilities, market promotion andmanpower training.

Provision of Supportive Services

9. The Film Services Office (FSO) under the Television andEntertainment Licensing Authority (TELA) provides one-stop service tothe film industry to facilitate its operation. Its specific duties includeassisting the industry in finding the appropriate venue for locationshooting, processing lane closure applications for location filmingpurpose, maintaining a resource centre to disseminate information ofrelevance to the film industry, etc.

10. TELA has also formulated in 2000 the Entertainment SpecialEffects Ordinance to regulate the use of pyrotechnic materials and otherdangerous goods for the production of special effects in film, televisionand theatrical productions so as to promote and regulate the safeproduction of special effects in Hong Kong. A one-stop applicationsprocessing mechanism was also established.

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Financial Support

11. We set up the $100 million Film Development Fund in 1999.The Fund provides financial support to a wide variety of projects that canraise the professional and technical standards of the local film industry,improve the professional skills of the industry’s workforce, encourage theproduction of more creative and diversified films, facilitate the industry’smastery and application of advanced technology so as to enhance theaudio and visual effects of films, encourage the industry to furtherimprove the quality of local film production and services, improve theproduction and operating environment of the film industry, etc. ByJanuary 2003, the Fund has already approved more than $40 million tosponsor over 40 projects that can benefit the long-term development ofthe film industry.

12. We also aim at setting up the $50 million Film GuaranteeFund by April this year to provide loan guarantee to banks that will offerloan facilities for film production. The Fund will address the pressingfilm financing need of the industry.

Infrastructural Facilities

13. The Government has made available in 1998 and 2000 twosites in Tseung Kwan O respectively for the construction of a film studio.The film studio will accommodate a post-production centre equipped withadvanced facilities, which can be used by the industry. The developerexpects the studio will be completed in 2004.

14. We will also set up a Digital Media Centre at the Cyberport toprovide hardware, software and technological support to the industry tofacilitate digital productions.

15. The setting-up of the Film Guarantee Fund will facilitate theestablishment of a local film financing infrastructure that will lay thefoundation for the long-term development of the film industry.

Market Promotion

16. Exploration of markets and market promotion are crucial forthe development of the film industry. The Hong Kong Economic andTrade Office (HKETO) overseas from time to time organise activities,like Hong Kong film festivals, to promote Hong Kong films outside

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Hong Kong. The Hong Kong Trade Development Council (HKTDC)also promotes Hong Kong films by means of events like the annualFILMART in Hong Kong, or promotional activities in large overseas filmfestivals (e.g. Cannes International Film Festival). HKTDC alsoorganised a Television and Film Delegation to Beijing last year tostrengthen collaboration between industries of the two places and explorenew business opportunities.

17. We will work closely with HKTDC to promote Hong Kongfilms overseas and help the industry to explore overseas market.

Manpower Training

18. Film is an important component of the creative industries andwe cannot afford to neglect manpower training in this sector. At present,University Grants Committee-funded institutions and the Hong KongAcademy for Performing Arts provide a wide array of film-relatedcourses suitable for those who want to pursue a career in the film industry.In addition, the Film Development Fund has sponsored a number oftraining courses to enhance the professional skills of the industry.Tertiary institutions and the Hong Kong Productivity Council alsoorganise advanced courses from time to time for industry practitioners toupgrade their technical level.

Conclusion

19. Regarding the role of the Government and the proposedestablishment of the Film Commission, we consider that the Governmentis already playing an active role in making infrastructural investment tolay the foundation for the film industry’s long-term development. Thecurrent framework, (i.e. the Commerce, Industry and Technology Bureauconsulting the highly representative FSAC before formulating policies onpromotion of the film industry and to be implemented by the FSO underTELA), can effectively address the concerns of the film industry. It isalso capable of formulating policy for the overall development of the filmindustry and implementing the related initiatives. One notable recentexample is to address the pressing film financing need of the industry andwe have formulated policy and established the Film Guarantee Fundwithin only a few months’ time upon receiving views from the industry.Having said that, however, we keep an open mind regarding the proposalof setting up a Film Commission to strengthen the framework of filmpolicy formulation. Further study is necessary before any decision can

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be made.

Way Forward

20. In his Policy Address, the Chief Executive has clearlycommitted the Government to forcefully promoting the creative industries,including the film industry, in order to open up new horizons for HongKong’s economy. We will continue to strengthen existing initiatives andactively create an operating environment which is favourable to the filmindustry.

21. Apart from briefing Members on Government’s response, wewill also brief the industry through the liaison meeting between TELAand the industry and will carry out detailed discussion about the Report.

Commerce, Industry and Technology BureauFebruary 2003

Annex IFederation of Hong Kong Film Workers’

“Revitalising Hong Kong Film Industry Report”

Proposals made by the Federation Government’s Response

(I) Key proposals on the planningframework

• The film industry hopes that theGovernment can play an active rolein making infrastructural investmentin film production so as to lay thefoundation for the long-termdevelopment of the film industry.(paragraph 2.19)

• To review the Government’s policytowards the film industry and therelevant framework, to map out thedirection and overall policy tofacilitate the development of thefilm industry and to considerreforming the policy framework(paragraphs 3.8 – 3.9)

• The Government should aim for thesetting up of a Film Commission tofacilitate the formulation of overallpolicy on the film industry andrelated initiatives. (paragraphs3.10 – 3.11)

• The Government can enhance therole of the Film Services AdvisoryCommittee by entrusting it with thetasks of formulating policies on thefilm industry and of setting up theFilm Commission. (paragraph 3.12)

• To strengthen communicationwith the film industry so as toformulate policies conducive to itslong-term development, theGovernment has set up the FilmServices Advisory Committee(FSAC). The Committee consistsof experts from different sectors ofthe film industry andrepresentatives from the relevantGovernment departments. TheCommittee provides invaluableadvice on the development of thefilm industry, such as developingguidelines on lane closures forlocation shooting, promoting HongKong films overseas, theadministering of the FilmDevelopment Fund and filmfinancing, etc.

• The Government has also set upthe Film Services Office (FSO)under the Television andEntertainment Licensing Authority(TELA) to facilitate the long-termand healthy development of thelocal film industry. Continuousefforts have been made by the FSOto make the business environmentmore conducive to the filmindustry, such as formulatingguidelines on lane closures forlocation shooting, publishing

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information for the industry’sreference and administering theFilm Development Fund, etc.

• The present framework of theCommerce, Industry andTechnology Bureau (CITB)consulting the FSAC beforeformulating policies for theimplementation by the FSO isconsidered effective and smooth.However, we keep an open mindregarding the proposedestablishment of the FilmCommission to strengthen theframework of film policyformulation. Further study isnecessary before any decision canbe made.

(II) Key proposals on financing

• The industry suggested that theGovernment should provide loanguarantee from the FilmDevelopment Fund, subject to amaximum guaranteed amount.(paragraph 4.7)

• The industry suggested that theFederation of Hong Kong FilmWorkers should play the role of acompletion bond agent to monitorthe progress of the film productionproject under a loan guarantee, toassess the risk of the filmproduction and to ensure thecompletion of the film as scheduledfor commercial theatrical release.(paragraph 4.8)

• The Government, or bodies like the

• The Government has alreadysought approval from theFinance Committee of theLegislative Council in January2003 to provide funding for theestablishment of the $50 millionFilm Guarantee Fund. Theobjective of the Fund is to provideloan guarantee for assisting localfilm production companies toobtain loans from lendinginstitutions for producing films.We expect that the Film GuaranteeFund will come into operation inApril 2003 and those eligible canmake applications to the Fund.As regards the proposal of theGovernment offering loanfacilities, we are of the view thatfilm production is a commercial

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Film Commission should, bymaking reference to overseasexperience, set up a loan scheme toprovide source of financing for theindustry. Generally speaking, thecopyright of the film should be usedas collateral under such a scheme.The Government or the statutorybody concerned should provide aloan equivalent to 35 – 50 % of thetotal investment made. (paragraphs4.10 – 4.11)

activity and loan should beprovided by the banking sector,and it is not appropriate for theGovernment to be directlyinvolved.

• To attract investment from theMainland in the local film industrythrough co-organised promotionalactivities by the Government andthe industry, and to explore overseasmarkets through attractinginvestment in local filmproductions. (paragraph 4.12)

• The Hong Kong TradeDevelopment Council (HKTDC)attaches great importance topromoting Hong Kong films in theMainland market. Over the pastfour years, the HKTDC hasorganised delegations of HongKong companies to participate inthe film festivals in the Mainland,such as the “Shanghai FilmFestival” and the “Sichuan FilmFestival”, so as to open up theMainland TV/film market. InOctober 2002, the HKTDC alsoorganised a delegation of HongKong TV/film personnel to visitBeijing. The delegation, withmore than 120 members, consistsof representatives from leadingTV/film companies. Theresponse from the Hong Kongcompanies has been veryfavourable and some of them haveformed partnerships with theirMainland counterparts. Morethan 70% of the participatingcompanies have expressed aninterest in visiting Shanghai nexttime. HKTDC is now having

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discussions with the industry witha view to organising a delegationto Shanghai within this year. (Alist of film & TV relatedpromotional activities organisedby the HKTDC in 2002 – 2003 isat Annex A.)

• HKTDC will also organiseconferences at the FILMART 2003for the local and Mainland filmindustries, so as to strengthen theircommunication and facilitatefurther co-operation.

• The Hong Kong Asia FilmFinancing Forum to be held inApril 2003 will also inviteinvestors from the Mainland toparticipate in financing of localfilm production projects.

• We will work closely with theindustry to attract investment fromthe Mainland.

• The Government can considersetting up an International FilmFund Hong Kong Independent FilmProjects Vetting Committee throughthe Film Commission to assist localfilm productions and help investorsattract overseas investment.(paragraphs 4.13 – 4.14)

• At present, film funds in manydifferent parts of the world, suchas the Hubert Bals Fund, GöteborgFilm Festival Filmfund, the SorosDocumentary Fund, andIndependents Fund of Channel 4,are open for all applicants. Filmmakers from all over the world arewelcome to make independentapplications and norecommendation is required.Meanwhile, each film fund has itsown vetting criteria. Therefore,setting up a Hong KongInternational Film Fund ProjectsVetting Committee may notnecessarily increase the chance of

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local film projects to be acceptedby overseas film funds. Also, theadministrative expenses, members’honorarium as well asrecommendation fees would haveto be borne by the applicants.

• A more effective approach ofstrengthening ties between localfilm makers and overseas filmfunds/investors is to hold a filmfinancing forum to showcasevarious local film projects and tofacilitate local film makers andoverseas Film Funds/investors todiscuss new film projects. Thefirst Hong Kong Asia FilmFinancing Forum (HAF),supported by the FilmDevelopment Fund, was held inHong Kong in the year 2000 andhad won international recognition.Film projects which had obtainedfinancing at the forum included“One Fine Spring Day” and “TheTouch”. The HAF indeed servesthe function of helping local filmprojects to obtain financing frominternational film funds and filmdistributors. This year, with thesupport of the Film DevelopmentFund, the HAF, together with theHong Kong Film AwardsPresentation Ceremony and theHong Kong International FilmFestival, will be held in April toleverage the impact and createsynergy.

• The film industry bodies should setup a registration system for filmscripts and film titles without delay.An intermediary organisation

• Under the existing laws of HongKong, no registration is required toown or protect the copyright of afilm. Film scripts which are

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should be given the task ofregistering, verifying and protectingthe intellectual property rights offilm scripts and film titles. Itshould also draw up codes ofpractices for the protection ofintellectual property rights andmake investigations or claimdamages on behalf of thecomplainant should there be acts ofinfringement. (paragraph 4.16)

original works are entitled tocopyright protection, while filmtitles can have intellectual propertyrights protection in the form oftrade mark registration.

• The Customs and ExciseDepartment has already made useof the film copyrights on-linedatabase funded by the FilmDevelopment Fund and maintainedby the Hong Kong, Kowloon &New Territories Motion PictureIndustry Association Ltd tofacilitate their investigations intocopyright infringing acts andenforcement work.

• The Intellectual PropertyDepartment has uploaded theIndex of Trade Marks Decisionson its web site(www.info.gov.hk/ipd). Startingfrom 30 January, members of thepublic as well as the industry canget access to the on-line classsearch system and sort out trademarks decisions on films.

• Regarding the suggestion ofprotecting the personality right ofartists by way of legislation asmade by representatives of the filmindustry, the Intellectual PropertyDepartment conducted aconsultation on the issue in 2000.The outcome of the consultationsuggested that the currentlegislation relating to defamation,malicious falsehood and passing-off has already provided adequateprotection to the personality rightof artists. However, there were

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also suggestions that the existinglegislation could not givecomprehensive protection to thepersonality right of artists and thatlegislation should be introduced toimprove the situation as far aspracticable. We keep an openmind on this issue and are willingto listen to views of the differentsectors before coming to anyconclusions.

• The persons concerned can, incase of personality rightinfringement, institute civilproceedings to claim damages orseek an injunction on the groundsof passing-off.

• The film industry opines that thesetting up of a Film Commission toact as an intermediary to collect,compile and publish box officerecords can maintain neutrality inthe process and enhance thetransparency and accuracy of therelevant data. (paragraph 4.17)

• We are of the view that collecting,compiling and publishing datarelating to box office records arematters which should beundertaken by the industry itself.The Government should not beinvolved. However, should theindustry needs resources toestablish a centralised box officerecord system, they are welcometo apply for funding support fromthe Film Development Fund.Meanwhile, the Fund has madecontact with the industry toencourage them to submit fundingapplication.

• In order to systematise filmproduction and budget management,the film industry need a computersoftware that can be used in theChinese communities and iscompatible with similar systemsoverseas. This can provide the

• The Film Development Fund canprovide funding support for thedevelopment of the computersoftware to facilitate thecommunication between thevarious systems relating to filmproduction and administration

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local film industry with a well-established administration systemand help them meet therequirements of internationalfinancing institutions. (paragraph4.18)

• The Government can, through theFSO or the future FilmCommission, set up a database forthe industry so that they can shareand exchange information relatingto film financing, financialmanagement, legal agreements aswell as other relevant information.(paragraph 4.19)

work. The film industry iswelcome to apply for fundingsupport from the FilmDevelopment Fund. Meanwhile,the Fund has made contact withthe industry to encourage them tosubmit funding application.

• The Film Development Fund hasalready provided funding for a lawfirm to draft templates of legaldocuments commonly used forfilm production and filmfinancing. Such sampledocuments are for free use by thefilm industry, the banking sectorand the legal profession.

(III) Key proposals on filmproduction

• We suggest that the Governmentshould provide land for theconstruction of a post-productioncentre and offer concessionary rentsfor local and even regional post-production companies, printingcompanies or media companies tooperate there. (paragraphs 4.23 –4.24)

• The costs of some of the advancedequipment for use at the post-production centre exceed theaffordability of local companies.We suggest that the Governmentshould provide funding for theacquisition of these advancedequipment. A statutory body ormanagement company should thenbe entrusted with the task of rentingthe equipment to film production

• The Government has madeavailable two sites in TseungKwan O for the construction of afilm studio. The developer hasbegun the construction work,which is expected to complete in2004. The film studio willaccommodate a post-productioncentre equipped with advancedfacilities, which can be leased outto other film companies.

• We will also set up a DigitalMedia Centre at the Cyberport toprovide hardware, software andtechnological support to theindustry (especially SMEs) tofacilitate digital productions.

• On the upgrading of equipment,the Government’s Business

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companies. Alternatively, theGovernment can encourage theindustry to upgrade their equipmentby offering low-interest loans.(paragraph 4.26)

Installations and Equipment LoanGuarantee Scheme for SMEs canprovide loan guarantee for smalland medium sized post-productioncompanies to renovate theirequipment.

• At present, SMEs can apply for theGovernment’s loan guarantee sothat banks will make loans to theapplicants to acquire or upgradeequipment. However, the vettingprocess should be simplified and theviews of the film experts shouldserve as a reference in the vettingdecision. (paragraph 4.27)

• Under the Business Installationsand Equipment Loan GuaranteeScheme for SMES, SMEs canapply to the participating lendinginstitutions for loans. The lendinginstitution will then vet theapplications according to theirprofessional knowledge. If thelending institution agrees to offerthe loan, the loan application willbe forwarded to the Trade andIndustry Department (TID), whowill consider whether loanguarantee should be provided.

• Upon the receipt of applications,TID will complete the vettingprocess within three working daysand inform the lending institutionwhether loan guarantee will beprovided. If the lendinginstitution agrees to offer loans, theTID will, in most cases, provideloan guarantee to assist the SMEsto acquire business installations andequipment.

• To enhance the understanding ofthe lending institutions about theoperation of different trades andtheir ability to assess and vet theloan applications from SMEs, TID,in collaboration with many tradeassociations, organised a number oftalks in the past six months for thelending institutions to keep them up

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to date with the development ofdifferent trades, such as thelogistics, electronics, textile andclothing, toys, timepiece andjewellery industries. TID willcontinue to organise such talks andis willing to co-organise talks onfilm production with the filmindustry.

• Also, the Government inDecember last year accepted therecommendations put forward bythe Small and Medium EnterprisesCommittee to improve the “loanguarantee scheme” for SMEs.The Finance Committee hasapproved the recommendations.The maximum amount of businessinstallations and equipment loanguarantee an SME may receive willbe increased to $2 million with amaximum guarantee period of fiveyears. In addition, there can also bea maximum $1 million guaranteeto cover working capital loan.Moreover, SMEs can also apply fora guarantee on accounts receivablewith a maximum guarantee of $1million. The guarantee period forworking capital loan and accountsreceivable loan will both be for amaximum of two years. SMEscan make use of the $4 million loanguarantee provided to obtain loansof no less than $8 million fromlending institutions, of which $4million have to be used foracquiring business installations andequipment and $4 million have tobe used as working capital. Theabove measures will help small andmedium sized film production

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companies in acquisition ofbusiness installation and enhancingtheir capabilities.

• The industry suggested that theGovernment should charge less forleasing venues managed by theGovernment and public agencies orlend disused properties to theindustry for film shooting,providing greater convenience forfilm production and film locationshooting. (paragraph 4.28)

• The FSO can also organise specialmeetings on a regular basis,allowing the industry andauthorities concerned to discussissues such as location shootingapplication procedures, handling ofindividual cases or relaxation ofrestrictions so as to find ways toimprove the situation. (paragraph4.29)

• To facilitate the development ofthe local film industry and filmlocation shooting, the Governmentsignificantly reduced the chargestwice for leasing Government landand premises for film shootingpurpose in 2000 and 2002respectively.

• From 1 November 2002 onwards,the standard charge for leasingGovernment land or premisesmanaged by the Lands Departmentfor film shooting purpose is $4,270per application, for a rental periodof one month. Upon expiration,such application may be renewedonce. If the venue includesadjacent Government land andproperties, it will be charged onthe basis of one application only.All film-shooting-relatedactivities, such as car parking,temporary storage and erection oftemporary structure, will not becharged separately.

• Like most other Governmentcharges, the current fee for leasingGovernment land and premises forfilm shooting purpose onlyrecovers the costs of providingservices (e.g. administrative costsfor approval of applications andmanagement work required duringthe lease term), and the rental ofthe land or premises used for filmshooting is already waived.

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• The application for leasingGovernment land is co-ordinatedand approved by the LandsDepartment. The leasing ofGovernment premises, however,will depend on which departmentis responsible for theirmanagement; but in most casesthey are handled by the LandsDepartment and GovernmentProperty Agency. Apart frommaintaining close contacts withTELA for consideration andapproval of applications for filmshooting at their venues, thedepartments concerned willregularly review the workflow andthe costs of service provision aswell as adjust the charges asappropriate.

• To provide assistance to the filmindustry, the Government has,regardless of a venue being disusedor not, waived the rental of thevenue for film shooting purpose.Thus those disused properties are infact leased free-of-charge, withonly administrative costs forprocessing applications.

• We will review the relatedprocedure from time to time inorder to reduce the administrativecost so as to alleviate the financialburden on the operation of theindustry.

• On matters related to charges forleasing of public agency venuesfor film shooting purpose by theindustry, such as formulation ofpolicies of lending hospital venues

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for film shooting purpose, theHospital Authority (HA) hasdiscussed with the industry andfinalised the policies aftercarefully consideration. First andforemost, film shooting activitiesmust not affect the normaloperation of the health careservice. All costs must berecovered to ensure that themedical resources put into the HAby the Government will not beused for non-medical purposes.The costs recovered will cover theexpenditure for additionaladministrative support, basic waterand electricity supply, cleaning,sterilisation and additional securityofficers, etc., arising from theleasing of venues. The charge forthe first 4 hours of leasing a venueis $10,000 (basic charge); thecharge for each additional hourthereafter has already beenreduced from $2,000 to $1,800.These arrangements have beenimplemented since 1 January thisyear, which will be subject toreview after one year.

• If the industry encounters anypractical problems in locationshooting, it can always reflectthem to the Government throughthe existing well-establishedchannel. The FSO has heldregular liaison meetings with theindustry since its establishment inApril 1998. Industrypractitioners attending themeetings include representativesfrom the trade associations andfilm practitioners, who often bring

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up issues like difficulties theindustry encountered in locationshooting and other related matters.It was agreed that a meetingshould be held every three months,and up till now 17 meetings werealready held.

• The FSO has made great effort inimproving the film makingenvironment. Representatives ofvarious departments were invitedto attend liaison meetings and tohave direct dialogue with the filmmakers so as to understand therequirements and needs of thelatter. The departments invitedinclude the Government PropertyAgency, former Urban ServicesDepartment, Hong Kong PoliceForce, Transport Department andthe HA, etc.

• Government departments, afterlistening to the views of theindustry, will adopt appropriatefollow-up action. In the past fewyears, a lot of problems brought upat the liaison meetings were solvedwith the help of variousdepartments concerned. Thescope of the problems is wide.Some examples include reductionof charges for leasing Governmentland and properties for locationshooting purpose, provision ofmore venues for film shooting forthe industry (e.g. museums, airportand HA hospitals), shooting foradvertising purpose at Governmentvenues, lane closure for locationshooting, and the use of variousequipment and props (including

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special vehicles for film shooting,pyrotechnic special effectsmaterials, converted firearms andblank ammunitions, simulateduniforms, parachutes and hot-airballoons, etc.).

• For film shooting applications ofa more complicated nature, theFSO provides a one-stop service.If production managers/assistantsencounter any problems inapplying for leasing venues forlocation shooting, or permits, orother permission, they can seekassistance from the FSO. In fact,the FSO may, based on the needsof individual cases, even organisespecial meetings to discussconcrete arrangements with thedepartments concerned. A totalof 867 such cases were handled bythe FSO from April 1998 toNovember 2002, with an overallsuccess rate of 98%.

• The FSO will continue tomaintain close liaison with thefilm industry and enhancecooperation to ensure that fullsupport is provided to facilitatelocation shooting.

(IV) Key proposals on distributionand marketing

• The Government can adopt theoverseas practice in promoting filmexports, such as providing financialsupport for local film distributors topublicise and promote local filmproducts overseas. It can even

• The SME Export Marketing Fundof the Government can providefunding for local film distributorsto participate in marketingactivities overseas. The FilmDevelopment Fund also provides

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consider subsidising companies inthe importing countries to covertheir publicity costs involved inimporting Hong Kong filmproducts. These initiatives willhelp local film distributors rebuildtheir overseas distribution network.(paragraphs 4.33-4.34)

sponsorship for local films toparticipate in overseas filmfestivals. In the two yearsbetween late 2000 and late 2002,the Film Development Fundallocated a total of $1.67 million toprovide sponsorship for 21 films toparticipate in overseas filmfestivals to promote Hong Kongfilms overseas. The Hong KongEconomic and Trade Office(HKETO) overseas also from timeto time organise Hong Kong filmfestivals, in order to promote HongKong films outside Hong Kong.

• The Government’s HKETO hasoffices in the UK, North America,Sidney, Tokyo and Singapore, etc.They can play a more active role inholding Hong Kong film festivals orHong Kong film weeks overseas ona regular basis. (paragraph 4.35)

• The London, Brussels, New York,San Francisco, Toronto, Sydney,Tokyo and Singapore offices of theHKETO have all organisedactivities to promote Hong Kongfilms, including holding majorHong Kong film festivals, and co-organising or taking part inoverseas international filmfestivals, etc., which gained widesupport from the audiences andfilm industry there. HKETO willcontinue to hold or take part inmore activities to promote HongKong films with its existingresources.

• HKETO considers that supportfrom the local film industry iscrucial in promoting Hong Kongfilms more successfully. Forinstance, industry practitioners canadvise on the choices of films andpromotional theme, as well asarrange for directors and actors toattend promotional activities, inorder to make them more effective.

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Besides, if film companies canlend their films free-of-charge orat a lower price, it will enableHKETO to use the resources savedto hold more promotionalactivities.

• The Government should, throughthe proposed Film Commission,regularly organise activities topromote Hong Kong films inmarkets like Taiwan, Singapore,Malaysia, Indonesia and Thailand,and help the local film industrymaintain closer contacts with filmmakers and cinemas in thoseoverseas markets. (paragraph 4.36)

• HKTDC, in promoting HongKong films in overseas market,mainly helps local traders toconduct activities related to trade,co-operation and establishbusiness relationship. The maintargets of such promotionalactivities are buyers and sellers.The parties directly involved areprimarily film distributors.Amongst the southeast Asiancountries, South Korea is now arather large TV/film market.HKTDC took part in the PusanFilm Festival in South Korea, andactively participated in thepartnership promoting programmeintroduced by the organiser of thefilm festival. HKTDC will alsoinvite film companies in SouthKorea and other southeast Asiancountries to take part in film andTV exhibitions organised by itannually in Hong Kong.

• We will work closely withHKTDC to promote Hong Kongfilms overseas.

• The industry suggested thatHKTDC should allow the industryto have a say in the theme andforms of participation in organisingfilm festivals, exhibitions and tradefairs, so as to meet the needs of the

• HKTDC has established aworking group on TV/filmindustry to promote Hong Kongfilms. The Working Group consistsof around 10 industryrepresentatives, most of whom are

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industry. (paragraph 4.37)

• HKTDC can also regularly compileand publish the information onoverseas film makers anddistributors, produce an overseasfilm business organisations guide,and make it easier for local filmcompanies and distributors inseeking overseas buyers. (paragraph4.38)

representatives of distributorsinvolved in marketing activities.They include representatives of theProducers & DistributorsAssociation of Hong Kong Ltd.and the Hong Kong, Kowloon &New Territories Motion PictureIndustry Association Ltd. as wellas some active distributors.

• HKTDC works closely with itsworking group to agree onresources, time, venue, form,publicity and invitation of buyers,etc., before any promotional eventsare planned. These include theannual FILMART, the Hong Kongat Cannes promotion, and theHong Kong Film & TVNetworking Delegation to Beijingin 2002.

• To make overseas promotionsmore effective, HKTDC organiseda round table luncheon, in additionto screenings of Hong Kong films,during the Hong Kong at Cannespromotion. It also organisedseminar, briefings on Mainlandpolicies, Hong Kong TV/filmindustry reception and luncheon,etc., during the trip of Hong KongFilm & TV Delegation to Beijing.Those who attended the eventsincluded Hong Kong filmproduction companies anddistributors, as well as film makersin the Mainland. These activitieswill promote exchanges andfacilitate future co-operation.

• The activities mentioned abovealso helped promote further

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contacts between Hong Kongcompanies and overseas buyers.For example, HKTDC invitedsome buyers at the American FilmFestival to attend a round tableluncheon and Hong Kong Night atCannes. The major buyers ofHong Kong films at Cannes andMilan would also be invited toattend the FILMART in HongKong. These can provideopportunities for overseas buyersand local traders to further discussfuture partnership that has firstbeen brought up at Cannes andMilan.

• In designing promotionalactivities, HKTDC will focus oncommercial effectiveness.Considering the interests of localcompanies and the characteristicsof local films, HKTDC willcarefully select and inviteappropriate potential buyers toattend relevant activities,providing and promotingopportunities for exchangesbetween buyers and local tradersso as to make the businessmatching more effective.

• To make it easier for localcompanies to select and contactoverseas distributors, the TDC isplanning to collate contactinformation in respect of overseasdistributors for reference by thelocal industry.

• The industry suggested that theHong Kong International FilmFestival should be corporatised and

• The corporatisation of the HongKong International Film Festival isnow in progress.

20


operated independently, withfunctions of promoting Hong Kongfilms integrated and enhanced.(paragraph 4.37)

• The Hong Kong InternationalFilm Festival will be held thisApril concurrently with two othermajor activities, namely the HongKong Film Awards PresentationCeremony and the HAF, toenhance Hong Kong’s position asa leading film production centre inthe region. The organisers of thethree events will co-ordinate theirpromotion efforts in order toenhance the momentum.

• The industry urged the Governmentto take the initiative and play a pro-active role in exploring theMainland market with them.(paragraph 4.40)

• The industry suggested that theGovernment should discuss with theCentral and the GuangdongProvincial Government on theestablishment of a Guangdong –Hong Kong cultural district.(paragraph 4.41 )

• The industry expected that theGuangdong Province should beregarded as a single cultural marketin the concept of the Guangdong-Hong Kong cultural district,providing more flexibility for thecirculation of films and culturalproducts in the region. (paragraph4.42)

• The industry suggested that theGovernment should explore withthe Central Government thefeasibility of allowing recognisedindustry bodies to act as an

• On the opening up of theMainland market, the Hong KongSAR Government is nowdiscussing with Mainlandauthorities on the establishment ofthe Mainland/Hong Kong CloserEconomic PartnershipArrangement (CEPA), the scope ofwhich covers market entry of tradein goods and trade in services.As the discussions are still underway, no conclusions have beenreached for the time being. Wewill continue to actively explorewith the Mainland authoritiesopportunities for opening up themarket.

• Under CEPA, both sides areactively exploring various options,including the implementation ofsome liberalising measures incertain geographical areas.However, such options should bemutually beneficial and in linewith the requirements as stipulatedby the World Trade Organisation.

• The Greater Pearl River Delta

21


intermediate to negotiate andmediate for them with the Mainlandfilm authorities or agencies whenthey encounter problems in filmproduction, distribution andbusiness dealings in the Mainland.(paragraph 4.42)

• In the past, film productioncompanies in Hong Kong “co-produced” films with theirMainland counterparts. Theindustry suggested that theGovernment should negotiate withthe Central Government to allowmore flexibility for co-productions.(paragraph 4.42)

Cultural Summit was convenedlast November, with officials ofthe Department of Culture of theGuangdong Province, CulturalInstitute of the Macau SpecialAdministrative Region, andcultural bureaux of seven cities inthe Pearl River Delta regioninvited to discuss culturaldevelopment and exchange in thePearl River Delta region. Thethree places signed an AgreedMinute at the end of the summit toestablish a foundation for culturalcollaboration.

• At the summit, the three placesshared views and information inareas such as cultural facilities, aswell as organisers/performinggroups and cultural and arteducation agencies in the PearlRiver Delta region. The sixspecific areas of collaborationwere as follows: mutual exchangeof information and talents forperforming arts; joint organisationof world-class performances; co-operation in ticketing network;development of museum networkand the excavation, conservationand promotion of heritage; digitallibraries network; promotion ofCantonese opera and training oftalents. The three places agreedto set up working groups and holdregular meetings to follow up theabove specific areas ofcollaboration.

• In addition, the CITB and TELAhave already conveyed the viewsof the local industry to the Film

22


Administrative Bureau of the StateAdministration of Radio, Film andTelevision regarding the regulatoryregime of co-productions and jointventures. The Mainlandauthorities acknowledged theconcerns of the industry andpromised to review the regulationson co-productions regarding theproportion of major cast and crewfrom Mainland and Hong Kong,the eligibility of the Mainland co-producer and its proportion ofinvestment, and the requirementthat the story has to take place inthe Mainland. Further details ofsuch new measures will beannounced later.

(V) Training, research and culturalpolicies

• The industry opined that the needsof the industry’s workforce shouldbe given priority considerationwhen organising trainingprogrammes funded by the FilmDevelopment Fund and thatprofessional advice from the filmexperts should be sought in vettingthe applications. The industrysuggested setting up an advisorybody to assess the importance andprofessionalism of each projectunder application. The advicesought would serve as reference inthe vetting of applications bymembers of the Projects VettingCommittee. (paragraphs 4.44 –4.45)

• Applications under the FilmDevelopment Fund are vetted bythe Film Development FundProjects Vetting Committee,members of which include filmexperts and individuals familiarwith the film industry. Eachfunding application will beconsidered carefully by theCommittee. The Committee hasbeen operating smoothly since itsestablishment. In assessing theimportance and professionalism ofeach application, these filmexperts often render valuableadvice in the light of the needs ofthe industry. Therefore, weconsider setting up of anotheradvisory body will onlycomplicate the procedures and

23


prolong the time required forvetting. However, to improve thecommunication between theapplicant and the Committee, sinceJanuary 2003, we have invitedapplicants to introduce theirapplications to the Committee.(For details of the trainingprogrammes funded by the FilmDevelopment Fund and thetraining courses organised with theassistance of the FSO, please referto Annexes B and C respectively.)

• Enhancing the technologicalcapabilities of the industry’sworkforce is a long-terminvestment. The industry hassuggested that a film technologytraining fund should be set up, withthe Government and the filmproduction companies eachcontributing 0.5% of the film budgeton a voluntary basis, to assist theindustry’s workforce to masteradvanced technology and enhancingtheir technological capabilities.The fund would not necessarily beadministered by an independentbody, and the money could be putinto the Film Development Fund asa short-term arrangement(paragraph 4.46).

• As the film technology trainingfund proposed by the industry runson a voluntary basis and generatesno stable income, it is verydifficult to bring the fund intooperation. The FilmDevelopment Fund now providesfunding support to trainingprogrammes. Besides, relevanttertiary institutions and the HongKong Productivity Council alsoprovide courses for the industry’sworkforce from time to time, so asto enhance their technologicalcapabilities. We propose tocontinue this manpower trainingthrough the support of the FilmDevelopment Fund.

• Basically, the Government lacksunderstanding of the trends of thefilm industry. The industrysuggested that the FSO and theproposed Film Commission should,together with the film industryorganisations, collect, collate andpublish data and information of thefilm industry on a regular basis.

• The FSAC consists of many filmexperts who have a thoroughunderstanding of the needs of theindustry and will reflect theirviews to the Government. TheFSO also compiles informationprovided by the film industrybodies for distribution to allrelevant parties on a regular basis.

24


The Government should alsoprovide support to the industrybodies to publish such informationas box office records, guidelines tothe industry bodies, industrysurveys, data of the local andoverseas markets, etc. (paragraphs4.47 – 4.48).

As the compilation and publicationof box office records are routinesthat should be undertaken by theindustry itself, it is not appropriatefor the Government to be directlyinvolved. However, if theindustry needs resources to set upa centralised box office recordsystem, they can apply for fundingsupport from the FilmDevelopment Fund. The HongKong, Kowloon & New TerritoriesMotion Picture IndustryAssociation Ltd. also collectsinformation such as data of thelocal market and provides suchinformation to the Census andStatistics Department forreference.

• The Central Register ofEstablishments Section of theCensus and Statistics Departmentcollects and updates informationon establishments of varioussectors on a regular basis,including the film services sector.The Central Register ofEstablishments provides acomprehensive sampling frame forthe Census and StatisticsDepartment, as well as non-confidential particulars ofestablishments (i.e. name andaddress of an establishment, andemployment size class) to otherGovernment departments and thegeneral public for statistical,research and other relatedpurposes.

• In addition, the Census andStatistics Department actively

25


conducts surveys every year. Itcollects and disseminates variousreliable and timely data ofdifferent economic activities inHong Kong. Statistics on thefilm industry include : annualstatistics of establishments in thefilm industry; number ofestablishments, employment size,number of job vacancies andcharacteristics of job vacancies;audio-visual productions andexports, imports and net exports ofservices statistics; quarterlybusiness receipts indices for thefilm industry.

• The Census and StatisticsDepartment regularly compilesand disseminates external tradestatistics, in which trade statisticsof film industry products(including cinematographic filmsand fixation media) bycountry/territory are provided.Such statistics help the industryunderstand the situation ofindividual markets.

• The Census and StatisticsDepartment issues a publicationentitled “Statistical Digest of theServices Sector” regularly. Thepublication gives an account of thecomprehensive and latest statisticsof the film industry in separatechapters. Other than the statisticscompiled by the Department, thepublication also sets out relevantstatistics compiled by otherGovernment departments andmajor organisations. Box officerecords provided by the Hong

26


Kong, Kowloon & New TerritoriesMotion Picture IndustryAssociation Ltd. are also included.

• Other than the surveys conductedby the Census and StatisticsDepartment, TELA conducted asurvey on the public’s movie-going behaviour in early 2001.The survey aimed at collectinginformation on the public’s movie-going behaviour and their viewsfor reference by relevantGovernment departments andindividuals in the film industry.

• The Census and StatisticsDepartment does not collect andcompile such data as overseasdistribution markets, box office ofoverseas markets, film distributionand attendance at the cinemas.However, if the industry possessessuch information or can providerelevant information, the Censusand Statistics Department, subjectto the availability of extraresources, is willing to providethem with professional advice onthe setting up of a scientificstatistical system for collecting andcompiling data.

• The industry suggested the settingup of a film school to lay thefoundation for professional trainingand cultivating film culture(paragraph 4.49).

• At present, University GrantsCommittee-funded institutions andthe Hong Kong Academy forPerforming Arts provide a widearray of film-related courses,including diplomas, associatedegrees, degrees and master’sdegrees in media technology,creative media, film and televisionarts, video production,

27


communication, etc. The abovecourses are suitable for anypersons who wish to pursue acareer in the film industry.(Details of film-related tertiaryprogrammes for 2001-2004 are setout at Annex D.)

• These courses cover every aspectof the film industry, includingmedia technology and aestheticstraining, training on audio-visualproductions, and diversifiedtraining to develop students’capabilities of independent andcreative thinking. Someinstitutions have established theirindependent film and televisioninstitutes or faculties, equippedwith advanced audio-visualfacilities and instruments, in orderto provide education and trainingof film work.

• It is believed that the abovecourses can generally meet themanpower demand of the localfilm industry. As such, thereseems no need to set up a filmschool at the moment.

• The present Hong Kong FilmArchive could also be merged withthe film school to become avaluable data bank for the industry,research work and education( paragraph 4.50).

• The industry suggested that theGovernment should provideassistance or allocate moreresources to promote the furtherdevelopment of video arts by the

• The Hong Kong Film Archivewas established mainly to collectand conserve Hong Kong filmsand relevant materials and tocatalogue the materials collected,serving the research purposes offilm markers, scholars, researchersand interested citizens. Most ofthe film archives all over the worldrun independently and provideservices mainly to various filmresearch agencies and individuals.

28


Hong Kong Arts DevelopmentCouncil, Hong Kong Arts Centreand the Leisure and CulturalServices Department. ( paragraph4.51)

As the nature of a film archive isdifferent from the teachingfunction of a film school, it isinappropriate to merge the HongKong Film Archive with theproposed film school.

• We agree it is important topromote and develop visual andvideo arts, and realise theirinteractive relationship with thefilm industry. For many years,the former Urban Council and theexisting Leisure and CulturalServices Department (LCSD),have attached great importance tovideo arts. The Government andthe Hong Kong Arts Centre co-organise the Hong KongIndependent Short Film and VideoAwards annually. This year willbe the eighth presentation of theAwards and a Short Film andVideo Festival will be held forscreenings of films from HongKong and other Asian countries, soas to encourage video production.

• LCSD also organises annually theMicrowave International MediaArt Festival, a large scale activitycoordinated by Videotage throughthe integration of video arts andmulti-media installations. Inorder to promote video arts to thepublic, the organisers also holdactivities such as workshops,seminars, exhibitions and filmshows, and invite overseas expertsto Hong Kong to share theirexperience. In addition, LCSDwill organise a video arts trainingprogramme this year with a view

29


to promoting video arts touniversity students. It will alsoorganise a workshop on video artsfor secondary students thissummer.

• To strengthen the link betweendevelopments of the film industryand cultural affairs, we will invitea representative of the HomeAffairs Bureau to sit on the FSAC,so as to facilitate communicationand co-operation.

• The long-term development of thelocal film industry requires aneffective policy which can protectthe intellectual property rights of theindustry. The industry suggestedthat the Government should step upthe checking of pirated goods at thecheckpoints and consider imposingheavy fines on those carryingpirated compact discs across theborder ( paragraph 4.52).

• We held public consultation onmeasures to combat piracy in1999. Some citizens andLegislative Councillors pointedout that it might be difficult for thepublic to tell if the compact discsthey bought were pirated goods.As such, they considered that theGovernment should not imposepunishment on those buyingpirated compact discs (andcarrying the discs into Hong Kong)for personal use. In view of theabove, we do not intend to takeactions against those buyingpirated products for personal use.

Commerce, Industry and Technology BureauFebruary 2003

Annex AFilm & TV Related Promotional Activities Organised by

the Hong Kong Trade Development Council during 2002 – 2003

Date Event FormatMay 15-25, 2002 Hong Kong Pavilion at MIF Cannes (Cannes) Exhibition

May 18, 2002 “Hong Kong Night” at Cannes (Cannes) Reception, screening of Hong Kong films, pressconference, roundtable forum on Hong Kong films

May 8-13, 2002 Shanghai TV Festival Exhibition

Jun 26-28, 2002 Hong Kong International FILMART (Hong Kong) Exhibition, films screening, workshops on digitaltechnology, cocktail reception and luncheon

Jun 26-28, 2002 Seminars on Film/TV Co-production and Distribution(Hong Kong)

Seminars

Oct 15-18, 2002 Hong Kong Film & TV Networking Delegation to Beijing(Beijing)

Visits, films screening, policy briefing session,seminars, receptions and luncheon

Nov 3-7, 2002 MIFED (Milan) Exhibition and luncheon

Feb 9-20, 2003 Berlin Int’l Film Festival (Berlin) Reception

Feb 19-26, 2003 American Film Market (Los Angeles) Exhibition

Mar 24-28, 2003 MIPTV (Cannes) Exhibition

Annex BTraining Programmes funded by Film Development Fund (as of January 2003)

Name of Projects No. of Participants Organiser PeriodFund

Granted1. Training Programme for Film Art-work

Professionals55 Hong Kong Film Arts

AssociationJune 1999 –

Sep 2000$1,046,000

2. Training Programme for Stuntmen 77 Hong Kong StuntmanAssociation Ltd.

July 1999 –July 2001

$1,176,400

3. Film Scriptwriters’ Training Programme I -Theme Development and Adaptation

20 Film Scriptwriters’ TrainingProgram Ltd.

April 2000 –Dec 2000

$691,000

4. Special Effects Operators Training Course 128 Film Services Office May 2000 –March 2001

$2,000,000

5. Film Production Workshop 40 Hong Kong Film Directors’Guild

Aug 2000 –Jan 2001

$547,600

6. Seminar and Workshop for ProfessionalAnimators by Mr. Richard Williams

Richard Williams’Animation Masterclass

136

2001 Hong Kong FilmTechnology Seminar

118

The Hong Kong ProductivityCouncil

Richard Williams’Animation Masterclass

July 2001(3 days)

2001 Hong Kong FilmTechnology Seminar

July 2001 (½ day)

$799,600

7. Overseas Summer Study Programme onComputer Animation and Visual Effects

8 The Hong Kong ProductivityCouncil

Aug 2001(3-week full-time)

$560,630

Name of Projects No. of Participants Organiser PeriodFund

Granted8. Computer Animation and Special Effects

Training Programme for Young Animators24 The Hong Kong Productivity

CouncilWorkshop

March 2002 –Aug 2002(Full-time)

$979,460

9. Summer Overseas Study Programme onDigital Movie and Visual Effects Production

10 The Hong Kong ProductivityCouncil

July 2002 (3-week full-time)

$738,860

10. LAB24: An Exploration in DigitalFilmmaking

4 HK Society ofCinematographers

Nov 2002 (1-week full-time)

$72,048

Annex CTraining Courses Organised with the Assistance of FSO (as of January 2003)

Courses on Digital Technology:

Institutions/ Centres Courses No. ofParticipants

Date

1.

Hong Kong Academy for Performing Arts – School of Film &Television

Hong Kong Film Directors’ Guide

Hong Kong Kowloon & New Territories Motion Picture IndustryAssociation

Digital Production Services’99 1077 June1999

2. SCOPE, City University of Hong Kong Seminar on Digital Editing 100 Oct 1999

3. SCOPE, City University of Hong Kong Asia Premier - “The Story of ComputerGraphics” 50 Nov 1999

4. Multimedia Innovation Centre, Hong Kong Polytechnic University Seminar on Digital Editing 20 Nov - Dec 1999

5. School of Creative Media, City University of Hong Kong Seminar on Digital Editing 20 Dec 1999

6. Multimedia Innovation Centre, Hong Kong Polytechnic University Adobe Premiere 5.0 - Digital EditingWorkshop 25 Jan 2000

7. Multimedia Innovation Centre, Hong Kong Polytechnic University Adobe Premiere 5.0 - Digital EditingWorkshop 20 Feb 2000

8. School of Creative Media, City University of Hong Kong AVID Digital Editing Workshop 4 Mar - April 2000

Institutions/ Centres CoursesNo. of

Participants Date

9. School of Creative Media, City University of Hong Kong Seminar - Digital Possibilities 40 March 2000

10. Multimedia Innovation Centre, Hong Kong Polytechnic University After Effects – Digital Editing Workshop 20 Aug 2000

11. Multimedia Innovation Centre, Hong Kong Polytechnic University After Effects & PhotoShop Workshop 33 Nov - Dec 2000

12. Multimedia Innovation Centre, Hong Kong Polytechnic University Introductory Workshop on ComputerAnimation 17 March - April 2001

13. Multimedia Innovation Centre, Hong Kong Polytechnic University After Effects – Digital Editing Workshop 16 Dec 2001

14. School of Continuing Studies, Chinese University of Hong Kong Adobe Premiere 6.0 – Digital EditingWorkshop 16 May - June 2002

Other Courses:

Institutions/ Centres CoursesNo. of

ParticipantsDate

1. SCOPE, City University of Hong Kong Seminar on Film Marketing 15 Oct 1999

2. School of Creative Media, City University of Hong Kong “Completion Bond” – A Case Study 40 June 2000

3. School of Creative Media, City University of Hong Kong “Completion Bond” – Workshop 40 June 2000

Annex DFilm-related Tertiary Programmes during 2001-2004

Actual and Projected Enrollment FiguresInstitution Programme Format Duration

2001/02 2002/03 2003/04

Associate of Arts in MediaTechnology

Full Time 2 yrs 38 40 40

Bachelor of Arts (Hons) in CreativeMedia

Full Time 3 yrs 47 48 48City University ofHong Kong

Master of Fine Arts in Media Designand Technology


Hong KongBaptist University

BSocSc (Hons) in Communication –Cinema and Television Option


ChineseUniversity ofHong Kong

BSocSc in Journalism andCommunications


Hong KongAcademy of

Performing Arts

Bachelor of Fine Arts (Hons) in Filmand Television


Total： 229 231 231

Film Services Advisory CommitteeMembership List

Chairman

Secretary for Commerce, Industry and Technology

Members

The Hon Selina CHOW LIANG Shuk-yee, GBS, JP

Mr. Crucindo HUNG Cho-sing

Mr. Bill KONG Chi-keung

The Hon MA Fung-kwok, JP

Mr. NG Chun-bong

Mr. NG See-yuen, BBS, JP

Mr. PHOON Chiong-kit

Mr. Charles WANG Cheung-tze

Mr. Derek YEE Tung-sing

Commissioner of Police or his representative

Director of Information Services or his representative

Executive Director of Hong Kong Trade Development Council or his

representative

Annex II

legislative council panel on information technology and ...€¦ · 10. tela has also formulated in...

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