#FreeAgnes #OpinionArticle #Interview #LegalHigh #PsychoPass #Dojinshi #Platform
Notes from a Distant Past: An Interview with Agnes Chow
In 2017, when Agnes Chow was interviewed by Hong Kong anime and manga review dÅjinshi Platform (ćć©ćććć¼ć ), she said the following words:
//Reporter: Living in this era, we are facing fast-changing environments. For readers who love anime, manga, idols and other Japanese subcultures, how do they make good use of the skills they gained from pursuing their interests when they face different social and political issues?
Agnes Chow: For me, anime and manga are the same as film and literature works, they represent things that the authors wanted to express. Why do Japanese people watch works like Legal High and PSYCHO-PASS that are critical of the social system, but cannot realise that these stories and oppressions actually happen in reality? I remember asking Toru Kurata sensei from Japan before, and he replied that it was because most Japanese people thought that stories are stories and reality is reality, all separate and different. In addition, nowadays Japanese people are generally apolitical. It is difficult for them to draw and imagine the link between reality and stories.
So in my perspective, when watching a work, imagination is very important. Imagination is the connection between the work and reality. Reflecting on relationships, society and the world through the works is the whole point of anime and manga appreciation. To be honest, I am not doing too well on this either and I need more time to hone it (smile).
In 2017, Hong Kong will be facing more political events: the judicial review of lawmakers, the chief executive election and the 20th anniversary of Hong Kongās handover. In this turbulent era, it is time to think about how we link the critiques in these works to the real society.//
Revisiting these words from 3 years ago now, everything seems like a distant past. āMore political eventsā, ā20th anniversary of Hong Kongās handoverā, āturbulent eraā ā at the time, who would have felt things were turbulent? 3 years ago, with this same magazine, I was just happily writing away with my friends, never once imagining what this eraās turbulence would look like.
Then, in 2019, the anti-extradition law amendment bill movement broke out. And then, Hong Kongers received the āmission of our timeā. And then, the Hong Kong national security law was āpassedā on 30th June 2020. On the same day, through her Twitter account with 45 million followers, Agnes Chow posted what was probably her last tweet, as a farewell.
On 10th August 2020, Agnes Chow was arrested for alleged offences against the āpartyās security lawā.
Source: https://www.facebook.com/444209758986030/posts/4217032908370344/ #Aug10
#ToruKurata #Anime #Manga #Japan
Notes from a Distant Past: An Interview with Agnes Chow
In 2017, when Agnes Chow was interviewed by Hong Kong anime and manga review dÅjinshi Platform (ćć©ćććć¼ć ), she said the following words:
//Reporter: Living in this era, we are facing fast-changing environments. For readers who love anime, manga, idols and other Japanese subcultures, how do they make good use of the skills they gained from pursuing their interests when they face different social and political issues?
Agnes Chow: For me, anime and manga are the same as film and literature works, they represent things that the authors wanted to express. Why do Japanese people watch works like Legal High and PSYCHO-PASS that are critical of the social system, but cannot realise that these stories and oppressions actually happen in reality? I remember asking Toru Kurata sensei from Japan before, and he replied that it was because most Japanese people thought that stories are stories and reality is reality, all separate and different. In addition, nowadays Japanese people are generally apolitical. It is difficult for them to draw and imagine the link between reality and stories.
So in my perspective, when watching a work, imagination is very important. Imagination is the connection between the work and reality. Reflecting on relationships, society and the world through the works is the whole point of anime and manga appreciation. To be honest, I am not doing too well on this either and I need more time to hone it (smile).
In 2017, Hong Kong will be facing more political events: the judicial review of lawmakers, the chief executive election and the 20th anniversary of Hong Kongās handover. In this turbulent era, it is time to think about how we link the critiques in these works to the real society.//
Revisiting these words from 3 years ago now, everything seems like a distant past. āMore political eventsā, ā20th anniversary of Hong Kongās handoverā, āturbulent eraā ā at the time, who would have felt things were turbulent? 3 years ago, with this same magazine, I was just happily writing away with my friends, never once imagining what this eraās turbulence would look like.
Then, in 2019, the anti-extradition law amendment bill movement broke out. And then, Hong Kongers received the āmission of our timeā. And then, the Hong Kong national security law was āpassedā on 30th June 2020. On the same day, through her Twitter account with 45 million followers, Agnes Chow posted what was probably her last tweet, as a farewell.
On 10th August 2020, Agnes Chow was arrested for alleged offences against the āpartyās security lawā.
Source: https://www.facebook.com/444209758986030/posts/4217032908370344/ #Aug10
#ToruKurata #Anime #Manga #Japan
#Anime #HikaruNoGo #ChineseCharacteristic
China's Adaptation of āHikaru no Goā Causes Controversy with Hong Kong's Handover Storyline
Source: Stand News #Nov9
Read more
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China's Adaptation of āHikaru no Goā Causes Controversy with Hong Kong's Handover Storyline
Source: Stand News #Nov9
Read more
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#Anime #HikaruNoGo #ChineseCharacteristic
China's Adaptation of āHikaru no Goā Causes Controversy with Hong Kong's Handover Storyline
Hikaru no Go, a popular Japanese manga, was adapted into a live-action series by a Chinese film company, and has premiered recently.
The storyline was rewritten to be set in the 1997 Handover of Hong Kong, and the protagonist was portrayed to feel excited for the handover. However, these changes stirred up some controversy.
In an interview, Chinese director Liu Chang claimed that Hong Kongās handover to China was āa collective memory of every Chineseā, and he chose this as the setting of the drama.
In addition to Hong Kong and Taiwanese netizens, many Chinese criticized the makeup of the character āZhu- yingā (āSaiā in the original series) as "horrifying".
The director admitted that about 20% of the screen time was āa bit awfulā, but it could not be helped due to technological limitations.
The adapted series was produced by iQIYI and broadcast online. In the first episode, the protagonist Shi-guang (āHikaruā, originally) was out at night with Zhu-ying when they came across a TV news report about Hong Kongās Handover to China, which said that āHong Kong finally returned to her motherland after a century of hardshipsā.
Shi-guang was overwhelmed with fascination, and Zhu-ying asked āwhat kind of occasion is today?ā. Shi-guang said it was āa special day when every Chinese should rejoice."
In addition to mentioning the Handover, the story's setting was also changed entirely to take place in China, despite being a Japanese anime originally.
Viewers had polarized opinions to the adaptation. Some said the drama was āneither fish nor fowlā, and āruining my childhood memoriesā. Some Chinese netizens, complimented it, however, and said the āproduction team did a great job in recreating the settingā, and that āusing the 1997 Hanover as the background made me satisfied as a fan to the original manga series and as a Chineseā.
Hong Kong netizens, on the other hand, suspected that the series ātook a franchise cherished by a whole generation and used it as propaganda to the youngsters.ā
On top of a āSinicizedā plot, another controversy of the live remake was Zhu-yingās heavy makeup and horrifying appearance.
========
Director: Handover could Strengthen Charactersā āEmotional Underpaintingā
In response to these criticisms, Director Liu Chang gave an explanation in an interview with a Chinese media. He said that it was difficult to adapt a Japanese manga into a web drama, and thus he created a remake in his own way, localising certain parts of the plot while keeping the original storyline, popular lines and character relations.
He believed that his adaptation was more than 60% similar to the original.
As to the choice of the Handover as the period setting, Liu stated 3 reasons. First, āthe story started with online Go, which is only possible when the Internet was a new technology in Chinaā, which placed the time period around 1997.
Next, he called Hong Kong's Handover to China as āa collective memory to all Chineseā. He believed that this setting could impress the audience.
Last, Liu claimed that the Handover could strengthen the āemotional underpaintingā of the characters, āmaking it more dramaticā.
Source: Stand News #Nov9
#ChineseWebDrama #Handover
China's Adaptation of āHikaru no Goā Causes Controversy with Hong Kong's Handover Storyline
Hikaru no Go, a popular Japanese manga, was adapted into a live-action series by a Chinese film company, and has premiered recently.
The storyline was rewritten to be set in the 1997 Handover of Hong Kong, and the protagonist was portrayed to feel excited for the handover. However, these changes stirred up some controversy.
In an interview, Chinese director Liu Chang claimed that Hong Kongās handover to China was āa collective memory of every Chineseā, and he chose this as the setting of the drama.
In addition to Hong Kong and Taiwanese netizens, many Chinese criticized the makeup of the character āZhu- yingā (āSaiā in the original series) as "horrifying".
The director admitted that about 20% of the screen time was āa bit awfulā, but it could not be helped due to technological limitations.
The adapted series was produced by iQIYI and broadcast online. In the first episode, the protagonist Shi-guang (āHikaruā, originally) was out at night with Zhu-ying when they came across a TV news report about Hong Kongās Handover to China, which said that āHong Kong finally returned to her motherland after a century of hardshipsā.
Shi-guang was overwhelmed with fascination, and Zhu-ying asked āwhat kind of occasion is today?ā. Shi-guang said it was āa special day when every Chinese should rejoice."
In addition to mentioning the Handover, the story's setting was also changed entirely to take place in China, despite being a Japanese anime originally.
Viewers had polarized opinions to the adaptation. Some said the drama was āneither fish nor fowlā, and āruining my childhood memoriesā. Some Chinese netizens, complimented it, however, and said the āproduction team did a great job in recreating the settingā, and that āusing the 1997 Hanover as the background made me satisfied as a fan to the original manga series and as a Chineseā.
Hong Kong netizens, on the other hand, suspected that the series ātook a franchise cherished by a whole generation and used it as propaganda to the youngsters.ā
On top of a āSinicizedā plot, another controversy of the live remake was Zhu-yingās heavy makeup and horrifying appearance.
========
Director: Handover could Strengthen Charactersā āEmotional Underpaintingā
In response to these criticisms, Director Liu Chang gave an explanation in an interview with a Chinese media. He said that it was difficult to adapt a Japanese manga into a web drama, and thus he created a remake in his own way, localising certain parts of the plot while keeping the original storyline, popular lines and character relations.
He believed that his adaptation was more than 60% similar to the original.
As to the choice of the Handover as the period setting, Liu stated 3 reasons. First, āthe story started with online Go, which is only possible when the Internet was a new technology in Chinaā, which placed the time period around 1997.
Next, he called Hong Kong's Handover to China as āa collective memory to all Chineseā. He believed that this setting could impress the audience.
Last, Liu claimed that the Handover could strengthen the āemotional underpaintingā of the characters, āmaking it more dramaticā.
Source: Stand News #Nov9
#ChineseWebDrama #Handover