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Comment by 誰還記得北婆羅州？ on June 23, 2023 at 5:21pm

（續上）倫理：組織與参與者（鄉親、宗親、社運志工）維持良好關係，建立情感連接、認同共識；参與者爲社團傳播口碑，讓組織“無成本”、“無營銷”，便擴大社會影響和實惠收益（如享受到大學或企業社會責任資源）。

生產鏈：社團文創商品如書刊、吉祥物、紀念品或生活用品等，從設計、生產、廣告到供貨，有良好的資源整合、商品信息互通、價格上下線協同、庫存全局可視、營銷資源共享、會員機制統一、配送管理統一等設置。

文史：文史研究實用意義的傳播，迫切需要跨科與跨界的智慧交流，是擴散民族知識的前奏曲。除了文史的扎實内容，也要從文化傳播方面，掌握参與者日常行爲、社交、媒體和輿論等論據。發揮學術的實際應用價值。

社媒：與社媒营銷工作者合作，透過設想活動體驗或文創產品的場景，多方式、多維度、多口徑採集可用數據, 預測趨勢、提供決策選項，檢測、預防風險、参與者（分類、價值觀、體驗需求）分析等前期作業，接着精準推送個性化信息，必要時可製作、發送小短篇、微電影等文宣。留言欄的反應有助促成参與者,主導文創商品與體驗活動的設計、生産與供應鏈。更加傾向於個性化、自由化選擇。

粉絲：社團新品牌的崛起，依賴於粉絲經濟（包括内容营銷、TikTok經濟學、讚經濟、短視頻效應等）。社媒網絡深入参與者生活，信息更加公開透明、傳播廣而快，使得社團粉絲的重要性大大提高；而且，傳統媒體，如電視廣告，纸媒報章的作用和效果減弱，成本較高。

良性循環；活動/交易結束是另一波營銷的開始。強調購買體驗、售後服務及参與者口碑傳播的重要性；推進體驗消費循環圈；趁既有参與者新鲜心理紅利未消失，深入挖掘参與者的新需求；體驗和口碑的産生，需要從生理、心理等多方面給参與者驚喜，如参與者的感官、情感與行爲。

會員體系：要培養頭部粉絲参與者，産生大V效果（頭部帶局部）；提高社會影响力變現能力。重點在于維護會員的忠誠度，提供真正有價值的體驗服務，避免“為舉辦而舉辦”，應重情感、避免同質化營銷。提供會員回饋、文化建設、長期個人化聯系，從而保持良好關係。

哲學：一流組織銷售文化，二流組織銷售品牌和信譽，三流組織銷售商品和服務。面對社會影响、經濟發展的背景，全球亦有ESG可持續要求，参與者從“理性参與”轉向“感性参與”，體驗方式的設計應緊隨参與者。一些值得關注的新趨向：配合TikTok經濟學，鄉產學協作倡議等，開發故事營銷、内容营銷，如雪蘭莪黄金海岸濱雪鄉鎮的新旅遊商品故事；街邊攤/咖啡店肉骨茶檔走向國際市場的成功故事；新加坡貨幣强勢带来馬来西亞的地方商機；東馬各鄉鎮原有土產（如古達泥蚶、馬鲁度玉米、拿篤燕窝與丹南咖啡等）節慶，如何與造就新一代的鄉產學结合上来。（陳明發博士〈TikTok年代：刷亮華團品牌路徑圖〉23.6.2023）

Comment by 誰還記得北婆羅州？ on January 24, 2023 at 4:15pm

全球2023年度熱門串流與線上影視網站排名

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Comment by 誰還記得北婆羅州？ on December 30, 2022 at 3:52pm

馬来西亞立國一甲子（1963-2023）

天大樂事：古天樂要到大馬拍電影

古天樂近年成為香港新一代影壇大亨。

今年52歲的影帝古天樂近年成為香港新一代「影壇大亨」，旗下的天下一發行多部不同類型的港產片，其4億鉅作《明日戰記》本月更在netflix全球上架，成功躋身全球點撃率第6位，最近古天樂接受荷里活傳媒《Deadline》訪問，期間提及現時香港影壇目前情況外，更透露天下一下一步將會進軍荷里活及其他泛亞地區，甚至會在馬来西亞、泰國、韓國等地製作當地語言的影視作品。

古天樂近年創立天下一，公司規模越搞越大，目前已在泰國、韓國等地設辦公室。

天下一近年出產過多部港產片，題材由小眾的跨性別人士，到4.5億科幻鉅作都有 ——

余香凝、廖子妤主演的《骨妹》。

姜皓文主演的《翠絲》。

潘燦良、吳鎮宇等主演的《逆流大叔》。

楊千嬅、古天樂與一班老戲骨演出的《五個小孩的校長》。

吳君如主演的《媽媽的神奇小子》。

最近大破港產票房紀錄的《飯戲攻心》，天下一亦是製片商之一。

天下一近年亦有投資荷里活電影，包括《維沃的精彩生活》與《一家人大戰機械人》，更擔任執行製片人。

《明日戰記》有逾1900個CG鏡頭，古天樂也表示難度極高，充滿挑戰性。

其中最難的是機械人對戰的場口。

《明日戰記》是香港電影歷來投資金額最高的電影之一。

古天樂自己也是科幻迷。

《明日戰記》於英國倫敦東亞電影節特別放映，古天樂特地飛到當地分享。

目前天下一正製作《明日戰記》的前傳動畫。

古天樂旗下的天下一近年《媽媽的神奇小子》、《梅艷芳》、《飯戲攻心》、《翠絲》等多部電影，大作外亦不乏題材特別的小品，古天樂在訪問中坦言：「香港確實需要尋找新的編劇和導演人材，過去電影產業曾經非常成功，但沒有迎合本地香港年輕觀眾口味。」古天樂解釋指：「他們（香港年輕人）對我們在國際市場上為人熟悉的動作片或犯罪片不敢興趣，所以我們希望製作更多貼近他們生活經歷的電影。」

天下一近年投資兩部Sony動畫電影，包括《維沃的精彩生活》（Vivo）及《一家人大戰機械人》（The Mitchells vs. the Machines），古天樂更擔任執行製片人，他在訪問亦透露公司有意進運荷里活及泛亞地地區，目前更尋找更多投資機會，不過整體目標是希望透過合作計劃，成香港產業的技術能勁夠得以提升。

《明日戰記》涉及逾1,900個CG鏡頭，古天樂直言充滿挑戰，其中最困難的是機械人打鬥場面，目前《明日戰記》亦正在製作動畫前傳，身為科幻迷的他對AI感興趣。針對香港市場較小的局限性，古天樂打算在亞洲不同地製作當地語言的作品，包括馬來西亞、泰國、臺灣和韓國等國家，目前在內地外，於泰國、韓國已開設辦公司。

今年港產片香港票房大放異彩，其中古天樂天下一有份的《明日戰記》、《飯戲攻心》票房屢破紀錄，成為香港影史上票房最高的兩部華語電影，有人認為港產片市場正式復蘇，古天樂認為每個國家的電影業都有起有跌：「只是香港影業到達了最低點，現在反彈回來。這就是為甚麽現在是嘗試新事物的最佳時機，我們不能一直重覆相同套路。」（原題：古天樂投資荷裏活電影為影壇吸新技術 計劃進軍韓泰市場出當地電影 / 原載：16.12.2022 星岛網）

Comment by 誰還記得北婆羅州？ on November 15, 2022 at 1:46pm

“Inherent Tribe Tatana” by Chester Pang

Sabahan producer Chester Pang puts the limelight on Dusun Tatana people in his 60-minute documentary film titled “Inherent Tribe Tatana”.

Just like other 30 ethnics in Sabah, he said the ethnic from Kuala Penyu deserves a storytelling opportunity to tell the world of its uniqueness.

“As people know the Baba Nyonya in Melaka, Dusun Tatana in Sabah also has the similar backgrounds,” he said after a technical preview of the film at a cinema here on May 11.

According to the documentary, due to the proximity of Kudat and Kuala Penyu to China, it is possible that the Chinese migrated to both places during the 19th and 20th century which led to the intermarriage with Dusun Tatana people.

To date, there are about 3,000 descendants of the Dusun Tatana, although embracing either Christianity, Islam or Buddhism, but they are still practicing Chinese traditions such as celebrating Chinese New Year.

Despite having fewer “shaman” and “messenger” now, the Tatana people is still conducting rituals meant for blessings, peace and harmony among others.

The annual organisation of Odou Bakanjar festival, which falls a day after Chap Goh Mei, is said to make the people including younger generation to feel proud of their heritage.

Pang said the RM280,000 film, which is partially funded by FINAS, will take part in the international film festivals this year.

It will be screened for public viewing next year either via local television programmes, online platforms and also Netflix.


Sabah Creative Economy and Innovation Centre (SCENIC) general manager Viviantie Sarjuni said the centre under the initiative of Sabah government would support creative talents.

“We do not only provide training and workshops but also help to commercialise talents into the international level, outside Sabah.

“For Chester, we will also support in terms of their participation fees to join festivals, their flights and accommodation to ensure their journey is smooth-sailing.”

(Source “Inherent Tribe Tatana” to compete in international film festivals by Borneo Echo Team on May 12, 2022

Chester's early works: https://iconada.tv/profiles/blogs/home001

Comment by 誰還記得北婆羅州？ on October 10, 2022 at 10:56pm

Wu Tang Clan & The RZA: 10 Kung-Fu Movies That Inspired Their Hip-Hop

By Cody McIntosh Published Jan 16, 2020

10/10 The 36th Chamber of Shaolin

UP FROM THE 36 CHAMBERS... IT'S THE GHOSTFACE KILLA. Both the namesake of their debut album, which is not only their most critically acclaimed record, but also definitely the fan-favorite, shortly followed by Wu-Tang Forever and Liquid Swords. It's, of course, a film done by the Shaw Brothers as with many on this list to be sure. It tells the story of a fictionalized story of San Te, a mythical master of Shaolin martial arts. It also received a more light-hearted sequel, called Return To The Thirty-Six Chambers. If you haven't seen this one, whether you're a Wu-Tang fan or a fan of Kung-Fu movies, this one is an absolute must-watch considering some people think that it very well may be the best Kung-Fu movie of all time.

9/10 Shaolin And Wu-Tang

The film Shaolin And Wu-Tang is another really important film to Wu-Tang's history. Anyone who's heard 36 Chambers will recognize this movie considering it's been sampled on "Bring Da Ruckus", "Da Mystery of Chessboxin'", "Wu-Tang: 7th Chamber", "Clan in Da Front", "Conclusion", and "Method Man (Remix). This film also starred the star of the previous film on the list, Gordon Liu. While it's arguably more important than the previous entry since this film is where Wu-Tang took their name from, the previous entry is generally considered the better of the two.

8/10 Executioners From Shaolin

Executioners From Shaolin is another Shaw Brothers film from 1977. It follows the story of Hung Hsi Kuan, and a generational struggle that the Shaolin are involved in to take out the followers of Pai Mei, and the lineage that will eventually become the martial arts style known as Pai Mei Kung-Fu.

You might recognize this film as the source of the sample on 36 Chambers that really lets you know "Okay, I'm in for a hype album" when you finally hear that "Tiger Style" sample hit on "Wu-Tang Clan Ain't Nuthing To F' With". This song and this sample let you know that indeed, Wu-Tang should be held at a high regard.

7/10 Five Deadly Venoms

Five Deadly Venoms is another Shaw Brothers production about five fighters (the titular 5 deadly venoms) that all fight using unique animal-based Kung-Fu styles, such as centipede, snake, scorpion, lizard, and toad. Each one of these styles have specific attributes that are directly related to the animals they're named after, like the scorpion style character using a kick that is said to be able to paralyze its victims. Since 7 of Wu-Tang's members had served prison time, the RZA decided that the sample from the movie would represent that people were afraid of them, so he plopped it into the beat for the song "Intro (Shaolin Finger Jab/Chamber Music)

6/10 The Mystery Of Chessboxing

The name of the song "Da Mystery Of Chessboxin'" from 36 Chambers is a direct reference to the film The Mystery Of Chessboxing from 1979 which has the international title of Ninja Checkmate. The film features a villain known as the Ghostface Killer which is extremely reminiscent of oh wait... Ghostface Killah, duh.

The villain in the film is known for his distinctive 5-elements style and most of the film features our protagonist trying to get an old master to teach him the art of chessboxing, a rather strange sport that features the alternations of rounds of chess with rounds of boxing. A pretty uncreative name for such an odd sport, but it gets the job done.

Comment by 誰還記得北婆羅州？ on October 10, 2022 at 10:56pm

5/10 Shaolin Vs. Lama

Samples from the film Shaolin Vs. Lama appear mostly on tracks from GZA and Raekwon which at first doesn't seem that important to Wu-Tang as a whole, but GZA and Raekwon are two of the most critically acclaimed members of Wu-Tang, releasing the hit albums Liquid Swords and Only Built 4 Cuban Linx respectively. The influence they've had on hip-hop as a genre really can't be overstated. The film tells of a battle between a young Shaolin apprentice who has to learn a new move to defeat the head of a rival gang, who also happens to be a Tibetan Buddhist Lama.

4/10 The Eight Diagram Pole Fighter

The Eight Diagram Pole Fighter is yet another entry produced by the Shaw Brothers on our list, and it stars Gordon Liu yet again, as well as Alexander Fu in his very last film appearance.

The film was released in 1984 and made in Hong Kong. The film is based on some of the ancient legends of the Song dynasty, specifically a text called Generals Of The Yang Family. The RZA said that if he had to pick just one Kung-Fu film that was most important to the formation of the Wu-Tang clan, it'd be this one.

3/10 Ten Tigers From Kwangtung

Ten Tigers From Kwangtung is a film that came out in 1979, and was directed by Chang Cheh. It tells the story of rivalries held between the Shaolin and Qing dynasty. It features a ridiculous roster of incredibly good martial artists that you can usually find appearing in a Shaw Brothers film. It's also the classic "Tiger Style" sample in "Wu-Tang Clan Ain't Nuthing Ta F' With".

2/10 The Four Assassins （馬可波羅)

This film cast a western actor in an attempt to garner a larger audience. Another Shaw Brothers powerhouse, The Four Assassins tells the story of historical explorer Marco Polo's time in China (rather inaccurately) as he tries to thwart the 4 assassins that are coming for the Mongolian emperor's life. This film came out in 1975, and the name of the film serves as the title track for a Wu-Tang song.

1/10 Invincible Armor

Invincible Armor is a film that The RZA chose to sample explicitly because it's fairly obscure, deciding that by sampling it, hopefully he'd open a bigger audience up to watching one of his favorite Kung-Fu movies. The Invincible Armor is a 1977 film that tells the story of a man's struggle for his honor after he's falsely accused of a crime by a corrupt official.

About The Author: Cody is an author from Ohio. When he's not writing, he enjoys improv comedy, making music with friends, and consuming whatever media he can. Before working for Valnet mainly on the Screen Rant site, he got his writing experience in doing music.

Comment by 誰還記得北婆羅州？ on October 10, 2022 at 9:30am

Iron Fists and Kung Fu Kicks–Netflix film tracks the pop culture reach of Hong Kong kung fu movies

Review by C.J. Bunce

From Hong Kong to the U.S. and Australia to Uganda, Australian director Serge Ou and writer Grady Hendrix track the scope of the Hong Kong kung fu movie industry and its pop culture influence on the world in the documentary Iron Fists and Kung Fu Kicks, now streaming this month on Netflix. Splicing interviews with kung fu legends of the past with new discussions with martial artists and actors influenced by them, Ou offers up a surprisingly rich look at how and why kung fu movies gained an international following that continues to this day via Jackie Chan comedies, the Matrix movies (with a sequel due in theaters next year), and new television series like Wu Assassins and Iron Fist.

Beneath what is in essence an overview of the genre is a smart mixture of social and cultural commentary on a global phenomenon centered on an artform mixing athleticism, dance, and grace. Kung fu made its way to American audiences with Tom Laughlin in Billy Jack, and into millions of homes via the Kung Fu series. This was paralleled by Bruce Lee movies and lesser films (they call them Bruce-sploitation) from China and U.S. studios, direct-to-video crotch-kicking and “squirrel-grabbing” action on VHS tapes in video stores, heroines leading the way as a sub-genre, eventually moving to black and inner city audiences embracing the culture, starting with martial artist and actor Jim Kelly (who co-starred with Bruce Lee in Enter the Dragon), re-emerging later as an influence on hip hop music. The genre got even bigger boosts with Jackie Chan heavy-stunt comedies, followed by The Matrix and the Academy Awards arrival of the genre with Crouching Tiger, Hidden Dragon. Chinese co-productions with other nations, and actors of Chinese background in the mainstream outside of Asia would eventually come along.

Comment by 誰還記得北婆羅州？ on October 10, 2022 at 9:30am

Viewers meet (or revisit) early kung fu icons Cheng Pei-Pei and Sammo Hung in new interviews, along with Billy Banks, who would turn the genre into his own fortune via the creation of the Tae Bo workout, early American female kung fu star Cynthia Rothrock, martial artist Richard Norton, plus from the 21st century shows, Iron Fist actor Jessica Henwick, Wu Assassins actor JuJu Chan, Doctor Strange actor Scott Adkins, and Marvel stuntwoman and choreographer Amy Johnston, among others. It’s all interspersed with great action sequences and other clips from more than 100 films. A theme underscoring much of kung fu movie history is a distinct lack of safety standards, with more than one participant in the documentary stressing that Hong Kong kung fu movies couldn’t be made anywhere else for that reason.

A key focus is not surprisingly Bruce Lee, taking America by storm as Kato in the Green Hornet series, his rejection by Shaw Brothers back in China, and then getting skipped over for David Carradine in his series Kung Fu, before gaining legend status only posthumously. While Chinese culture and movies in particular are still only beginning to make their way to Western audiences, kung fu films from Hong Kong began in the 1960s with a man named Runje Shaw whose studio turned from essentially soap opera productions into a lucrative action movie powerhouse, making Shaw one of the wealthiest men in China. Viewers will find the spread of kung fu had an impact on surprising areas of culture.

The film highlights benchmarks in the genre: Come Drink With Me (1966), One-Armed Swordsman (1967), The Big Boss (1971), Five Fingers of Death (1972), Fist of Fury (1972), Enter the Dragon (1973), Police Story (1985), China O’Brien (1990), Rumble in the Bronx (1996), The Matrix (1999), Crouching Tiger, Hidden Dragon (2000), Ong-Bak: The Thai Warrior (2003), and The Raid (2011). You’ll see early film footage with Michelle Yeoh, but oddly enough megastar Jet Li and his films from the 1980s through the 2000s get overlooked. The major downside of the documentary is in its third act, stretching kung fu movies to include poorly filmed YouTube videos. It also doesn’t enter into any discussion of wuxia and film in China outside of Hong Kong, it has few native Chinese interviewees, and provides only a brief flash of an image of director Quentin Tarantino, who is so widely noted as being heavily influenced by the genre. Also, there’s no mention of the culture impact to American kids of the “kung fu grip.”

The film comes from Veronica Fury, the producer of the documentary about Cannon Films, Electric Boogaloo (previously reviewed here). It has slick, in-your-face design imagery consistent with the genre and is overall informative and entertaining, bound to teach anyone something they didn’t know about Hong Kong and its pop culture creation. It includes the obligatory talking heads, but they don’t get in the way of what is best about the film. No doubt it has opinions that will create conversations among diehard kung fu movie enthusiasts, but for everyone else it’s an easy and fun two hours.

The documentary Iron Fists and Kung Fu Fists is streaming now on Netflix. (December 13, 2019 https://borg.com)

Click for More: https://iconada.tv/photo/link002

Comment by 誰還記得北婆羅州？ on October 1, 2022 at 4:48pm

#Showbiz: 'Don't Look At The Demon' first Malaysian movie to enter American market, premiere in 250 North American cinemas By Aref Omar

KUALA LUMPUR: Local horror movie Don't Look At The Demon will be screened in over 20 countries including Vietnam, Thailand, the Philippines, Singapore, Mongolia, Cambodia, the United States, Canada, the United Kingdom and Poland.

Helmed by Malaysian film director and producer Brando Lee, the movie is expected to be screened in more than 250 cinemas in North America alone.

"With the global release of Don't Look At The Demon I hope to inspire local producers to reach for the stars and keep pushing forward to represent Malaysia on an international scale," said Lee during a press conference after a screening of the movie at Dadi Cinemas in Pavilion KL, here tonight.

He added: "The release of this film is not just my success but it is the success of all of us in Malaysia.

"I am extremely proud to set this benchmark and bring pride to our country.

"The film will forever be an emblem to remind Malaysia that no goal is too big if you set your minds to it."

Don't Look At The Demon follows the exploits of a group of American paranormal TV investigators and an emotionally damaged spiritual medium who travel to Fraser's Hill in Malaysia to investigate supernatural occurrences in a house built in the early 1970s.

But as the dark secrets of the house come to light, they must deal with possessions and a malevolent entity that may have a connection to the medium's own mysterious past.

The 93-minute movie, which features traditional Asian folklore from an American perspective, stars artistes from Hollywood, Thailand and Vietnam including Fiona Dourif, Harris Dickinson, Randy Wayne, Jordan Belfi, Malin Crepin, William Miller, Phan Nhu Thao and Konglar Kanchanahoti.

The event was also attended by Deputy Communications and Multimedia Minister Datuk Zahidi Zainul Abidin and some of the cast members, including Swedish actress Crepin.

"This film provides an opportunity for people from other countries to learn and understand the cultures, traditions and tourist attractions in Malaysia, which in turn could contribute to the improvement of the tourism sector, " said Zahidi.

"Now that we have entered the American market, we can strive to reach new heights by aiming to obtain awards such as the Oscars, Emmys and so forth, in the near future."

Produced by Barnstorm Entertainment and Bliss Pictures, Don't Look At The Demon is set to premiere in cinemas nationwide on Oct 6. (September 29, 2022 NST)

Comment by 誰還記得北婆羅州？ on October 1, 2022 at 11:30am

Sofia Jane: Want Malaysian film industry to reach South Korean heights?
Higher-ups first need to care about art

Sofia Jane challenges the Malaysian authorities to put more care into arts such as the film industry. — Picture by Choo Choy May

By Zarrah Morden

Sunday, 14 Aug 2022 7:00 AM MYT

KUALA LUMPUR, Aug 14 — There have been many changes to the local film industry over the years, but not all of them have been good or welcome, said award-winning Malaysian actor Datin Sofia Jane.

She recalled the glory days of the National Film Development Corporation or Finas, when the premiere of films at its grounds brought not just industry players but also enthusiasts such as film students or even laymen with a passionate interest in local films.

"We need to be brave and we need to fail and be brave and fail again. Look at South Korea and how long it took them to actually be where they are today,” she told Malay Mail in a recent interview.

She said that elevating the Malaysian film industry to become an international success is doable, but the endeavour would require everybody to care about it — including the relevant ministries.

"You always end up with good intentions but there's only so much you can do because you don't have the last say in whether things can get done or not,” she said.

Sofia joined veteran actor and producer Datuk Rosyam Nor who told a forum on Thursday that the local industry can emulate the South Korean creative industry to become the country's major earner and increase its renown.

The forum had focused on Syamsul Yusof's historical blockbuster Mat Kilau: Kebangkitan Pahlawan which has grossed nearly RM100 million so far.

South Korea fell under the global spotlight after Bong Joon-ho's 2019 black comedy thriller Parasite achieved international critical and commercial acclaim, winning both the Palme d'Or and the Academy Award for Best Picture.

In response, the Communications and Multimedia Minister Datuk Saifuddin Abdullah had in 2020 tasked Finas with a roadmap — dubbed “Project Oscar” or "Road to Oscars" — for local films to win in the much-coveted Academy Awards in 20 to 30 years.

Last year, Finas submitted Muzammer Rahman's black-and-white drama Prebet Sapu starring Amerul Affendi and Lim Mei Fen for the Best International Feature Film category.

Despite the effort, director and writer Badrul Hisham Ismail said he finds it bizarre that in the country, the film industry falls under the purview of the Ministry of Communications and Multimedia, rather than the Ministry of Tourism, Arts and Culture.

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