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香港電影業如何起死回生？/ How Can the Hong Kong Film Industry Be Revived?
文章
2025 年 2 月 11 日
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農曆新年期間，一家大小相聚到戲院觀賞「賀歲片」是香港多年來的風潮。但據香港票房有限公司統計，今年本港除夕至初四的5日賀歲檔期，票房總收入只有約3060萬元，較去年同期下跌37%，較疫情前的2019年更下跌近60%，屬近10年間最差，香港的電影業正陷入低潮。
相反，新春期間內地戲院十分旺場，根據國家電影局統計，截至2月5日早上，春節檔期票房為95.1億元人民幣，觀影人次為1.87億，創下歷史新高。票房冠軍是動畫片《哪吒之魔童鬧海》，票房突破50億元；對於一套動畫片取得如此好的成績，我不感到奇怪，我記得兩年前看過另一套動畫片《長安三萬里》，我當時已經覺得非常出色，人物栩栩如生，故事完整，是中國創意產業的一大成就。
有資深製片人表示「香港的電影業差不多玩完」。我認為第一個原因是投資者少，很多往日的投資者都裹足不前，只剩古天樂等的大明星和為數不多的公司投資電影；第二是港人的娛樂習慣已改變，環觀全球電影業市場，均被串流平台搶了很多客，現時很多大片如《帝國驕雄II》，已經很快能在串流平台上看得到，年輕人在手機上觀看已經很滿意，因此戲院的觀眾群萎縮得很厲害，去年香港已有9間戲院相繼宣布結業或停業。
另一個原因是，香港的市場始終小，中國開放市場後，香港的電影製作人、編導、演員已經紛紛北上「搵真銀」，他們在內地的成績都相當不錯，例如兩套內地「爆款」劇集《三生三世十里桃花》和《陳情令》，這兩套都有港人參與執導，據說香港編導在內地頗受歡迎，原因是他們懂得省錢。
雖然近年有幾套港產片非常出色，如《毒舌大狀》、《九龍城寨之圍城》、《破．地獄》，在內地市場相當賣座，口碑、票房和國際反應都不錯；但有資深製片人表示，這只是個別電影的成績，整個電影行業仍是死氣沉沉。下篇再拆解有何辦法挽救香港電影業。
How Can the Hong Kong Film Industry Be Revived?
During the Chinese New Year, it has been a long-standing tradition in Hong Kong for families to gather at cinemas to watch "New Year movies." However, according to statistics from the Hong Kong Box Office Limited, the total box office revenue during the five-day New Year period from New Year's Eve to the fourth day of the Lunar New Year this year was only about HKD 30.6 million, a 37% drop compared to the same period last year and nearly a 60% decline compared to pre-pandemic 2019, marking the worst performance in the past decade. The Hong Kong film industry is currently in a slump.
In contrast, mainland cinemas were bustling during the Spring Festival. According to statistics from the China Film Administration, as of the morning of February 5, the box office revenue for the Spring Festival period reached RMB 9.51 billion, with 187 million moviegoers, setting a historical record. The box office champion was the animated film "Nezha: Birth of the Demon Child," which grossed over RMB 5 billion. I am not surprised by the success of an animated film achieving such results. I remember watching another animated film, "Chang An," two years ago, and I was already very impressed by its vivid characters and complete storyline, which is a significant achievement for China's creative industry.
A seasoned producer remarked that "the Hong Kong film industry is almost finished." I believe the first reason is the lack of investors. Many former investors have become hesitant, leaving only a few big stars like Louis Koo and a handful of companies to invest in films. The second reason is the change in entertainment habits among Hong Kong people. Globally, the film industry has lost many customers to streaming platforms. Nowadays, many blockbusters, such as "Gladiator II," can be quickly viewed on streaming platforms, and young people are satisfied with watching movies on their phones, leading to a significant shrinkage in cinema audiences. Last year, nine cinemas in Hong Kong announced closures or suspensions of business.
Another reason is that Hong Kong's market is ultimately small. After China opened its market, Hong Kong filmmakers, directors, and actors have flocked north to "make real money," and they have achieved considerable success in the mainland. For example, two mainland hit series, "Eternal Love" and "The Untamed," both had Hong Kong directors involved. It is said that Hong Kong directors are quite popular in the mainland because they know how to save money.
Although there have been several outstanding Hong Kong films in recent years, such as "A Guilty Conscience," "Twilight of the Warriors: Walled In," and "The Last Dance," which have been quite successful in the mainland market with good word of mouth, box office, and international response, a seasoned producer stated that these are just the achievements of individual films, and the entire film industry remains lifeless. The next article will explore ways to revive the Hong Kong film industry.
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美國在二戰協助盟軍打敗德國、日本等軸心國，一直塑造「英雄」形象，加上戰後憑藉主導西方媒體的優勢，荷李活電影風行全球，亦透過電視劇、社交媒體等，宣揚自由、開放、英雄等「美式價值」，並以「自由民主」的旗號獲得世界贊同。然而，美國這種精心營造的拯救世界、自由開放、民主文明的形象，卻在特朗普執政下徹底粉碎。
特朗普的言行大大削弱了美國長久以來營造的軟實力和國際形象；例如他信口開河說要加拿大成為美國第51個州，又說要把加沙變為旅遊區，將巴勒斯坦人送去其他中東阿拉伯國家，簽署行政命令將「墨西哥灣」（Gulfof Mexico）改名為「美國灣」（Gulfof America），要求Google等地圖供應商跟隨更名，這些行為均違反聯合國原則，完全無視別國主權和國土疆界。
儘管美國官員稱特朗普無意進攻加拿大，但加拿大總理杜魯多認為特朗普的恐嚇是認真的，吞併加拿大的威脅確實存在。不排除他會如俄羅斯般採取「特別軍事行動」（specialmilitary operation），特朗普一方面譴責俄羅斯入侵烏克蘭，另一方面威嚇別國，與俄羅斯的「特別軍事行動」本質上有何分別呢？
特朗普簽署行政命令將「墨西哥灣」改名為「美國灣」，並要求地圖供應商跟隨更名；有意見認為這只是特朗普的第一步，改名後他極有可能進而吞併墨西哥，墨西哥無力抵抗。這與美國對台灣議題的傳統立場有很大衝擊，雖然美國表面上同意「一個中國原則」，但其實不願見到中國統一，因此經常表示反對中國用武力改變台海現狀。但如果美國可以隨便改變別國的疆界，怎可以反對中國統一？歷任美國總統努力塑造的所謂「道德高地」，將在特朗普執政下變得支離破碎。特朗普的荒謬舉動不僅讓美國的國際形象徹底崩塌，自由民主的「美式價值」亦顯得虛偽不堪。
Trump Has Destroyed American Values
The United States has long portrayed itself as a "hero"—from helping the Allies defeat Germany, Japan, and the Axis powers in World War II to leveraging its dominance in Western media. Hollywood movies, television series, and social media have spread American values of freedom, openness, and heroism worldwide, winning international support under the banner of "liberty and democracy." However, this carefully crafted image of a world-saving, free, and democratic America has been completely shattered under Donald Trump’s leadership.
Trump’s words and actions have severely weakened America’s soft power and international reputation. For example, he casually suggested that Canada should become the 51st U.S. state, proposed turning Gaza into a tourist destination by relocating Palestinians to other Arab nations, and even signed an executive order to rename the "Gulf of Mexico" as the "Gulf of America," demanding that Google and other map providers follow suit. These actions violate United Nations principles and blatantly disregard the sovereignty and territorial integrity of other nations.
Although U.S. officials claim that Trump has no intention of invading Canada, Canadian Prime Minister Justin Trudeau takes Trump’s threats seriously, believing that the possibility of annexing Canada is real. It is not impossible that Trump could launch a "special military operation" similar to Russia’s actions in Ukraine. On one hand, Trump condemns Russia's invasion of Ukraine, yet on the other, he threatens other nations—how is this any different from Russia’s so-called "special military operation"?
Trump’s executive order to rename the Gulf of Mexico as the "Gulf of America" raises concerns that this might just be the first step toward annexing Mexico—a country that lacks the military strength to resist. This move directly contradicts the United States’ long-standing stance on Taiwan. While the U.S. officially acknowledges the "One China Principle," it actively opposes China's reunification efforts, frequently warning against the use of force to alter the status quo in the Taiwan Strait. But if America itself can arbitrarily change another country's borders, how can it object to China's unification efforts? The so-called "moral high ground" that past U.S. presidents worked so hard to establish is now falling apart under Trump.
Trump’s absurd and reckless actions have not only completely destroyed America’s international reputation but have also exposed the hypocrisy of American values such as freedom and democracy. The once-glorified "American ideals" now appear hollow and deceitful under his rule.
很多反美人士會斥責美國為「美帝」，打着民主旗號，其實奉行帝國主義。特朗普上台後，以雷霆萬鈞之勢撕破「民主自由」的華麗外衣，赤裸裸地讓世人目睹其新帝國主義的真面目。
《經濟學人》（The Economist ）最近發表一篇題為Project 1897: The imperial presidency 的文章，指特朗普在21 世紀實施19 世紀的帝國主義，並試圖擴大美式疆土主義。特朗普在就職演辭中唯一讚賞的美國總統是威廉·麥金利（William McKinley），麥金利在1897 至1901 年期間擔任美國第25 任總統，在位期間為了擴大美國疆土，兼併了夏威夷、關島、菲律賓和波多黎各。麥金利是在財閥支持下坐上總統寶座，約翰·摩根（J.P. Morgan）及約翰·洛克菲勒（John D. Rockefeller）等巨頭都是其背後支持者。此外，麥金利擅於運用關稅措施來達到目的，曾強迫國會通過法例將關稅增至近50%。這些特點都與特朗普非常相似。
特朗普上任後狂言一浪接一浪，首先指加拿大應成為美國第51 個州，說要收購格陵蘭，繼而簽署行政命令將「墨西哥灣」（Gulf of Mexico）改名為「美國灣」（Gulf of America），並要求Google 等地圖供應商跟隨更名；最近更稱加沙應由美國接管改造為度假區等等，可見他徹底無視別國主權，擴張野心展露無遺，並且將一切視作一盤生意，計劃透過擴大美國版圖，掠奪更多資源。
《經濟學人》直言不諱地形容特朗普是一個「帝國主義的總統」，批評他在21 世紀施行19 世紀美國霸權擴張年代的政策。這種赤裸裸的帝國主義行徑，與美國長期以來宣揚的「民主自由」價值觀形成強烈反差，正因如此，世人應「感謝」特朗普的所作所為，他讓世界看清帝國主義的嘴臉。
Trump's New Imperialism
Many anti-American critics denounce the United States as an "American Empire," claiming that it operates under the banner of democracy while actually practicing imperialism. After Donald Trump took office, he swiftly tore apart the glamorous façade of "democracy and freedom," blatantly exposing the true nature of his new imperialism to the world.
The Economist recently published an article titled Project 1897: The Imperial Presidency, arguing that Trump is implementing 19th-century imperialism in the 21st century while attempting to expand American territorial ambitions. During his inaugural address, the only U.S. president Trump praised was William McKinley, who served as the 25th president of the United States from 1897 to 1901. During McKinley’s tenure, he expanded U.S. territory by annexing Hawaii, Guam, the Philippines, and Puerto Rico. McKinley rose to power with the backing of corporate tycoons such as J.P. Morgan and John D. Rockefeller. Additionally, McKinley was skilled at leveraging tariffs to achieve his goals, once forcing Congress to pass legislation that raised tariffs to nearly 50%. These characteristics bear a striking resemblance to Trump’s approach.
Since taking office, Trump has made a series of bold and controversial statements. He first suggested that Canada should become the 51st U.S. state, then proposed purchasing Greenland. He later signed an executive order to rename the Gulf of Mexico as the "Gulf of America" and even demanded that mapping services like Google Maps follow suit. More recently, he suggested that Gaza should be taken over by the United States and transformed into a resort destination. These actions demonstrate his blatant disregard for other nations' sovereignty and reveal his unrestrained expansionist ambitions. Viewing everything as a business venture, Trump seemingly plans to expand U.S. territory to seize more resources.
The Economist bluntly describes Trump as an "imperialist president," criticizing him for implementing policies reminiscent of America's 19th-century expansionist era in the 21st century. This undisguised imperialism starkly contrasts with the longstanding American values of "democracy and freedom." In a sense, the world should "thank" Trump for his actions—because he has exposed the true face of imperialism for all to see.
2月12日，我在立法會大會上，就「守護本港一夫一妻、一男一女的婚姻制度」議案發言。
我：主席，多謝何君堯議員提出有關婚姻的議案。這讓我們有機會進行一個文明且理性的辯論。事實上，昨晚我與多位同事收到了一位「重量級人物」的要求，請求我們支持此議案。雖然今年是選舉年，我們都不希望得罪選委，但我已坦白地告訴這位「重量級人物」我很難支持該議案。
我認為該議案存在問題。嚴格來說，中國傳統的婚姻、家庭制度是「一夫一妻多妾」。1972年，《婚姻制度改革條例》在香港生效，廢除了納妾制度。然而，至今社會上仍存在許多在普通法上被視為 “common law wife”的伴侶，即擁有妻子權利的伴侶。曾國衛局長剛才提到婚姻條文，其實是新中國在破舊立新時引入的新婚姻概念。事實上，中國長期處於「一夫一妻多妾」的制度，因此我們應該說「一夫一妻」是中國共產黨對新社會新中國的一項重要貢獻，而非說是傳統。
至於為何「一夫一妻」制度在香港出現，特別是在第181章《婚姻條例》中出現基督教婚禮或相等的世俗婚禮以及相關的事宜制條文，我有內地朋友在香港結婚，他很喜歡香港婚禮的模式，包括婚姻註冊官宣讀嚴肅的誓言。曾局長提到「一夫一妻、終身相守、排除外人」均屬「西方耶教概念」，而非中國傳統的說法。我認為要「一夫一妻」其實是新中國引進的價值觀，而非傳統中國人對於家庭的看法。
現今社會，很多家庭並非「一夫一妻」，有人不僅有一位正式的配偶，甚至炫耀自己做他人的情婦以獲得大量財富。這些行為對社會造成不良影響，並未弘揚良好價值。所以我並不滿意傳媒大事宣揚。我希望同事們能同意，這些行為對社會產生了負面的文化影響。事實上，社會中仍然有許多人擁有不止一位正式配偶，那我們是否應該完全排擠他們呢？這個問題並非非黑即白，因此我認為這個議案難以執行。特別是當我們說要防範和抵制不良文化時，究竟不良文化是指什麼？作為一名女性，我最反對婚外情。如果黨員有婚外情，我絕不姑息。然而，我們是否要抵制這些情況呢？具體要抵制什麼呢？
至於同性關係，正如剛才林新強議員所說，法庭應有清晰的裁決，在MK v Government of HKSAR的案件中，上訴庭已明確表示《基本法》37條中的婚姻不包括同性關係。但終審庭在岑子杰(上訴人) 訴 律政司司長的案件當中指出，不應歧視同性關係，政府應提出替代框架，讓同性關係與異性關係享有同樣的福利和權益。正如林新強議員所說，香港是一個法治社會，我們應該尊重終審庭的裁決。
香港電影業陷入低潮，有資深電影界人士更表示香港的電影業很難起死回生。對於目前本地電影製作較少，我認為特區政府應推出政策，大力鼓勵國內外的製作公司來港取景拍電影、電視劇、網劇等，這樣不但能宣傳香港，拍攝期間將創造一定的工作機會，一舉多得。
我舉一個著名例子，荷李活巨片《蝙蝠俠：黑夜之神》有一個經典場景正是在香港取景，蝙蝠俠在國際金融中心一躍而下的那瞬間，向全球宣傳香港的作用，勝過特區政府花費數千萬在海外賣廣告推廣。
海外電影尤其是荷李活這類大製作來港拍攝，未必整個劇組的每一員都一同跨越數千甚至上萬公里來工作，其間則需要在香港招募電影從業員，如燈光師、化妝師、臨時演員等台前幕後人員，將創造不少工作機會，紓緩從業員目前因開戲少而開工不足的情况。
據報，在新西蘭取景的《魔戒》第一季影集，拍攝製作預算約為4.65 億美元，當中新西蘭政府已補貼逾1 億美元，拍攝期間單計第一季已在當地直接或間接創造近2000 個工作機會。拍攝場地發展為旅遊景點，持續為當地帶來龐大的旅遊收益。
事實上，世界有很多地方深諳此道，不但打開方便之門，支持國外電影公司到當地拍電影，更有資助計劃，例如新西蘭政府會向製作公司補貼最高25% 的製作成本，韓國提供最高25% 補貼，法國政府提供最高30% 退稅補貼，實際資助金額視乎是否滿足當地政府條件，如冰島政府更提供最高35% 補貼，製作方要獲得最高補貼額，需滿足多項條件，例如在當地直接聘請指定人數的人員等。鄰近如澳門亦已於2023 年推出了「『澳門取景』影視拍攝資金補助計劃」，資助外地拍攝團隊在澳門拍攝的40% 支出，資助範圍更涵蓋音樂錄像、綜藝節目等。香港過去是東方荷李活，如今也不能落後太多，必須急起直追。
Encourage Domestic and Foreign Production Companies to Film in Hong Kong
Hong Kong's film industry has fallen into a slump, with some senior figures in the field expressing that it is difficult for the local industry to recover. Given the current decline in local film productions, I believe the Hong Kong Special Administrative Region (SAR) government should implement policies to strongly encourage domestic and foreign production companies to film movies, TV dramas, web series, and more in Hong Kong. This would not only promote Hong Kong but also create job opportunities during the filming process, achieving multiple benefits at once.
Let me provide a well-known example: the Hollywood blockbuster 《The Dark Knight》 featured a classic scene filmed in Hong Kong, where Batman leapt from the International Finance Centre. This moment showcased Hong Kong to the world and was more effective than the SAR government spending tens of millions on overseas advertisements to promote the city.
When overseas productions, especially large-scale Hollywood projects, come to Hong Kong to film, it is unlikely that every single member of the crew will travel thousands or even tens of thousands of kilometers to work on location. During such productions, local recruitment becomes necessary for roles such as lighting technicians, makeup artists, and extras, creating numerous job opportunities for both on-screen and behind-the-scenes workers. This could alleviate the current underemployment issue faced by industry professionals due to a lack of projects being filmed.
According to reports, the first season of 《The Lord of the Rings》 series, filmed in New Zealand, had a production budget of approximately USD 465 million. The New Zealand government subsidized over USD 100 million of this budget, and during the filming of the first season alone, it directly or indirectly created nearly 2,000 job opportunities in the area. The filming locations were later developed into tourist attractions, generating significant and ongoing tourism revenue for the region.
In fact, many places around the world understand this strategy well. They not only open their doors to support foreign film companies but also offer financial incentives. For example, the New Zealand government provides subsidies of up to 25% of production costs, South Korea offers up to 25% subsidies, and the French government provides tax rebates of up to 30%. The actual subsidy amounts depend on whether certain conditions set by the local governments are met. For example, Iceland offers subsidies of up to 35%, but to qualify for the maximum amount, production teams must meet several conditions, such as hiring a specified number of local personnel. Closer to home, Macau introduced the “Macau Filming Support Program” in 2023, which subsidizes 40% of expenses for foreign production teams filming in Macau. The scope of subsidies even includes music videos and variety shows.
Hong Kong, once known as the "Hollywood of the East," cannot afford to lag too far behind. It must act quickly to catch up.
2月12日，我在立法會大會上，就「全面檢視特區政府資源運用，優化財政結構」議案發言。
我：多謝主席。感謝黃俊碩議員和鄧家彪議員提出的議案及修正案。多年來，香港擁有龐大的赤字，財政儲備亦不斷減少，這種狀況非常值得政府關注。一方面這違反《基本法》107條，亦削弱了抵禦金融風暴的能力。我很高興看到兩位議員的議案提醒政府在節流方面，不僅是灼眼削減對社會大眾的開支，而是應該檢視政府本身的資源及龐大的開支。正如剛才管浩鳴議員指出，公務員的開支已超過1000億元，這是龐大的開支和編制。目前香港擁有700多萬人口，逾19萬公務員編制，但實質上只有17萬。相較之下，新加坡人口有500多萬，公務員則只有8萬多人。長遠來說，政府是否應該檢討龐大的編制和較高的薪酬呢？事實上，公務員多年來的薪酬按年以百分比不斷上升，已遠高於私人機構。以政務官為例，起薪為61,865元，遠高於如怡和洋行，太古集團和匯豐等私人機構的大企業管理培訓生。管理培訓生與政務官的工作性質相似，但起薪只是3萬多元。若政府只需出4萬多已網羅最佳的畢業生，而加入政府首幾年是受訓，那麼為何受訓的公務員每月61,865元呢？我曾向政府提過應該檢討公務員薪酬，但官方回應是薪酬架構每六年檢討一次，即表示不會貿然檢討。然而，這些薪酬已遠遠與私人市場脫節。例如，行政主任的起薪點為35,080元，而私人機構的行政人員薪酬則是2萬多元。而文書主任為總薪級表第 16點(每月36,850元)至總薪級表第21點(每月47,010元)，但並不需要大學學位。而私人機構的文書主任的薪酬約17,000-18,000元。這些薪酬已經遠高於私人機構，並會影響私人機構聘用人才。
值得注意的是，香港現時有3000多名文書主任。過去在政府就職要「開file」，但相信現時許多工作可以電子處理，是否仍需這麼多文書主任呢？此外，負責翻譯工作的法定語文主任起薪點是32,430元。今時今日，政府應該善用科技，如 “DeepSeek”可以進行英譯中翻譯，效果尤佳。那麼政府是否有需要聘用這麼多法定語文主任或文書主任甚至秘書呢？
我認為政府需要檢視公營機構開支，不只是一刀切減薪。主要官員薪金約1億元，即使減薪10%，一年節省約1000萬元，節省的公帑有限。我認為，正如港澳辦主任夏寶龍所指，政府要「勇於改革，敢於破局，不斷創新」。因此，公務員事務局要主動檢討龐大的公務員架構的同時，薪酬架構也要檢討，若發現有職系人手過多便要削減。此外，主要官員是否要每人獲安排一位秘書、一位新聞主任、一位工作助理、一位行政助理、一位政治助理呢？再者，官員司機是否應該共用？所有這些都需要檢討，而不只是簡單的減薪。我希望政府可以正視這些過時的安排。
行政長官李家超在2024年《施政報告》提出要「全力推進香港成為國際專上教育樞紐」，「打造『留學香港』品牌」，「打造國際高端人才集聚高地」。實際行動方面，包括「修訂《專上學院條例》草案，完善自資專上院校的監管和質素保證機制，推動自資院校優質發展」，以及「預留至少80公頃用地，發展『北都大學教育城』」，「鼓勵本地專上院校與中外知名院校以靈活創新的模式，開拓更多品牌課程、研究合作和交流項目」，並承諾於2026年上半年公布《北都大學教育城概念發展綱要》。
自資專上院校良莠不齊
的而且確，若能達成上述宏願，成功吸納海外內知名學府來港，開辦高質量課程，成功吸納及培養各類高端人才，可望提升社會的整體知識水平，造就高質量產業發展，創造就業機會，實現新質生產力，提振經濟，創造財富，整個社會也會受惠，對香港的長遠發展有莫大好處。不過，前提是特區政府、教育界以至整個社會都要清晰理解上述政策目標，而不是打着「開口牌」，「留學香港」淪為口號，社會充斥良莠不齊的課程和假學歷。
回顧香港在回歸後高等教育政策的演變，首先是首任行政長官董建華在2000年《施政報告》提出要在10年內讓六成高中離校生接受大專教育，推出副學位政策，其後推出多項貸款及批地支援措施，促進自資專上教育的發展。
2008年10月，為了應對金融海嘯對香港經濟的影響，時任行政長官曾蔭權成立經濟機遇委員會，提出發展包括教育產業的六大優勢產業，自資專上教育於是急速膨脹。
2018年12月，張炳良教授領導的「檢討自資專上教育專責小組」發表檢討報告，指香港「在2001年後的5年內已達到提高專上教育普及率至60%的目標。2015/16年度，專上教育普及率更升至70%，當中學位程度課程參與率達45%」，即數據上已達成董建華當年所訂定的目標。
2020年時，香港一度有28所自資專上院校，但是學額供應過多、課程水平參差、收生不足及營運虧損等情況均遭詬病。有院校的副學士課程曾出現「零收生」紀錄（2016/17學年），香港大學旗下的明德學院因為虧損，於2019/20學年停止收生。薩凡納藝術設計學院（Savannah College of Ars and Design）也因虧損高達3.2億元，已於2020年停辦。
目前，除了「八大」，另有3所院校根據《專上學院條例》（第320章）註冊及升格為大學（香港樹仁大學、香港恒生大學和聖方濟各大學），其他還有香港珠海學院、港專學院等7所認可專上院校在營運。當中，有規模較細的院校在2024/25學年只開設4個課程，學生人數只有300多人。
根據立法會文件（總目156－政府總部：教育局），現在「完成中學教育的年輕人中，約55%現有機會修讀學士學位課程，連同副學位課程學額計算，現時約80%適齡年輕人有機會接受專上教育」。理論上，不同成績能力興趣志向的年輕人可以修讀不同學科，在科技、醫學、人文、演藝或其他專業充實自己，社會整體教育水平有所提升，這是好事。
另一方面，教育一直是特區政府的三大最龐大支出範疇之一。前行政長官林鄭月娥在2017年上任時推出「50億元教育新資源」，包括向每位修讀自資學位課程的合資格學生每年提供3萬元資助。往後教育開支逐年遞增，已由2017/18年度的802億元，增至2024/25年度的1068億元，激增了33%。
如今特區政府面對嚴峻財赤，新一份《財政預算案》將如何調整教育資源，仍是未知之數。
財赤下須調整教育資源
在上述背景下，香港要怎樣才能達成「國際專上教育樞紐」的宏大願景，「八大」與其他專上院校應如何分工配合，值得深思。
首先，特區政府根據「檢討自資專上教育專責小組」的檢討報告，已於2019年改組自資專上教育委員會，亦計劃修訂《專上學院條例》（第320章），優化自資院校的規管框架及完善管治工作；更新院校的註冊及取消註冊條件，課程表現或收生不達標的院校將要取消註冊，停止營運。我認為是正確方向，能使院校提升自身水平，增強競爭力。
2023年10月，特區政府公布《北部都會區行動綱領2023》，把北部都會區劃分為四大區域，其中「創新科技地帶」包括新田科技城、河套區港深創新及科技園，以及牛潭尾；計劃讓牛潭尾「配合新田科技城的創科發展，推動『產學研』合作，連同其他在北部都會區規劃的專上院校用地，共組『北都大學教育城』」。
2024年11月，發展局向立法會發展事務委員會呈交《牛潭尾發展建議》（立法會CB（1）1487/2024（04）號文件），計劃在牛潭尾預留127公頃作發展用途，當中46公頃發展大學城（包括9公頃綜合醫教研醫院用地），實踐目標包括：鼓勵本地專上院校與中外知名院校以靈活創新的模式，包括跨院校、跨學科、跨界別及跨境合作，開拓更多創新、前沿和高層次的本科、研究生以及專業程度的品牌課程、研究合作和交流項目；推進教育科技人才融合發展，推動國際高端人才集聚香港等等。
那邊廂，立法會教育事務委員會轄下的「推動香港成為國際教育樞紐小組委員會」則討論了《專上院校提交的意見書及政府當局回應》（立法會CB（3）936/2024（01）號文件），文件摘錄了各專上院校共七大範疇23項意見，包括：進一步擴大內地、澳門及台灣學生的限額至20%甚至40%；容許所有合資格本地自資院校招收內地、澳門及台灣學生；推廣香港的職業專才教育；在大學城為職業訓練局興建新校園；提供額外撥款提升副學士學生的語文能力；推動與內地相互承認副學士程度學歷等等。
必須思考怎吸引知名學府
很明顯，相對於「全力推進香港成為國際專上教育樞紐」，各大專院校的着眼點則是「收生主義」，期望擴大收生、發展職業專才教育和副學士學歷認證，落差不可謂不大。因此，教育局首先需要更仔細詳盡地向院校講解政策目標，做好期望管理，讓各大院校清晰自身的定位和分工，才能匯聚院校力量，共同努力。
第二，特區政府要深刻思考，香港能以什麼優勢條件，吸引哪些國內及國際知名學府來港，進行「跨院校、跨學科、跨界別及跨境合作」？須知道以往成功來港合作的海外知名大學或課程，多以商科為主，例如位於摩星嶺的芝加哥大學香港校園（The University of Chicago Francis and Rose Yuen Campus in Hong Kong）主要開辦行政人員工商管理碩士課程（EMBA）；香港科技大學和美國西北大學凱洛格管理學院合辦的凱洛格─科大行政人員工商管理碩士課程（EMBA）更已12次榮膺全球第一；反之，來港搞創科的院校鮮有成功例子。而若要成為國際教育樞紐，必須集聚成大學群，才能發揮聯動效應，要達到這點難度甚高。
「八大」宜加強師生國際化
最後，吸納世界頂尖人才是重中之重。過去美國科技領先全球，正是因為招攬來自世界各地的人才，例如英特爾創辦人、已辭世的格羅夫（Andy Grove）是匈牙利人；谷歌創辦人布林（Sergey Brin）則是來自蘇聯的美籍猶太裔；今天炙手可熱的世界首富馬斯克則是來自南非。
目前「八大」的國際化程度達世界前列，《泰晤士高等教育》（Times Higher Education）公布了2024年度全球最國際化大學排名，香港城市大學榮登榜首成為全球最國際化的大學，香港大學排名第六，香港科技大學和香港理工大學分別位列第九和第十名，反映各大學已匯聚相當多的國際師生，未來應在這基礎上進一步擴充人才庫。
不過，地緣政治嚴峻，加上特朗普上台，未來美國不會輕易輸出人才來港，我們應放眼世界，內地專才之外，也要着力發掘東歐、中亞、印度的人才。以香港大學為例，2023/24學年計，全校有3001位國際生（不計內地生），當中343人來自北美國家，408人來自歐洲國家，1990來自其他亞洲國家，「國際成份」不俗，未來更需加強。
看來，特區政府要「全力推進香港成為國際專上教育樞紐」，達成「留學香港」的目標，未來有大量工作要做，要讓自資專上院校汰弱留強，「八大」則要加強師生國際化的程度，更要成功吸引國內及國際知名學府落戶「北都大學教育城」，種種挑戰，任重道遠。
新民黨於2024年開拓「Talk With Experts」講座系列，邀請不同領域的專家及業界翹楚分享，早前已舉辦兩場講座，分別探討低空經濟及人工智能的發展，昨日（10日）來到第三場，很榮幸邀得港交所前行政總裁、「滴灌通」創辦人李小加先生主講，主題為「金融服務如何帶動實體經濟」；有百多名新民黨黨友及其他嘉賓出席，更踴躍向李小加先生提出不同角度的問題。
李小加先生離開港交所後，着力思考如何突破金融市場與實體經濟脫節的困境。他分析了傳統銀行融資與上市融資之間所缺乏針對中小企的金融服務產品，想出以收入為主要估值工具（RBP）的金融交易市場，在澳門成立「滴灌通澳交所」（MCEX），是全球首個收入分成產品DRO交易所。講座中，李小加先生介紹他的構思及成立期間的經驗。
他指出，目前全球資本市場未有完全與實體經濟扣連在一起，以港交所為例，每年的交易量與融資到實體經濟的比例是「400：1」，即實體經濟拿了1元走，金融市場上，投資者之間互相買賣賺那400元，根本沒有落到實體經濟。他認為全球股票市場已經接近是「賭場」，錢從投資者之間賺，「賭下一個人以更貴的價錢買」。他稱，因此他想作出改變，成立「滴灌通澳交所」，希望金融市場能與實體經濟扣連，以收入共享融資（Revenue-based financing）方式融資。
李小加先生圍繞金融服務如何重新緊扣實體經濟的現實處境和發展，講解收入共享融資（Revenue-based financing）與傳統銀行債務融資的分別，以及基於盈餘（Earnings-based）的股票市場能夠為很多中小企，特別是流通量大的企業，找到新的發展機會和融資機會，亦讓很多投資者、小股民能在新平台上進入市場，獲得紅利，捉緊市場發展。
有參加者關注為何其他國家沒有推出同類概念的產品，例如美國應該存在一定的市場。李小加先生強調中國可以作為領先者，再解釋指美國的金融市場服務深度，像銀行市場已經深度進入實體經濟，已經很多中型企業提供貸款服務，例如社區銀行等；而他提出的這個模式，適用於發展中國家，金融市場極不發達的國家。
講座中除了討論「滴灌通」外，亦有討論到加密貨幣，有參加者提到全球最大加密交易所幣安（Binance）在去年10月至11月的交易量，比全球三大主要股票市場更多，加密貨幣的交易非常蓬勃；關注李小加先生認為這能否把資金引到實體經濟。李小加先生則形容這些加密交易所是一個非常「奇葩」的存在，本來加密貨幣的原意是去中心化，本質是以算法為基礎的定價原則上的投機產品，本質上又成為了中心化，而且隨着交易量的集中，中心化愈發明顯，比傳統貨幣有過之而無不及，恰恰又缺乏透明度，更莫論監管，根本是中心化市場。
農曆新年期間，一家大小相聚到戲院觀賞「賀歲片」是香港多年來的風潮。但據香港票房有限公司統計，今年本港除夕至初四的5日賀歲檔期，票房總收入只有約3060萬元，較去年同期下跌37%，較疫情前的2019年更下跌近60%，屬近10年間最差，香港的電影業正陷入低潮。
相反，新春期間內地戲院十分旺場，根據國家電影局統計，截至2月5日早上，春節檔期票房為95.1億元人民幣，觀影人次為1.87億，創下歷史新高。票房冠軍是動畫片《哪吒之魔童鬧海》，票房突破50億元；對於一套動畫片取得如此好的成績，我不感到奇怪，我記得兩年前看過另一套動畫片《長安三萬里》，我當時已經覺得非常出色，人物栩栩如生，故事完整，是中國創意產業的一大成就。
有資深製片人表示「香港的電影業差不多玩完」。我認為第一個原因是投資者少，很多往日的投資者都裹足不前，只剩古天樂等的大明星和為數不多的公司投資電影；第二是港人的娛樂習慣已改變，環觀全球電影業市場，均被串流平台搶了很多客，現時很多大片如《帝國驕雄II》，已經很快能在串流平台上看得到，年輕人在手機上觀看已經很滿意，因此戲院的觀眾群萎縮得很厲害，去年香港已有9間戲院相繼宣布結業或停業。
另一個原因是，香港的市場始終小，中國開放市場後，香港的電影製作人、編導、演員已經紛紛北上「搵真銀」，他們在內地的成績都相當不錯，例如兩套內地「爆款」劇集《三生三世十里桃花》和《陳情令》，這兩套都有港人參與執導，據說香港編導在內地頗受歡迎，原因是他們懂得省錢。
雖然近年有幾套港產片非常出色，如《毒舌大狀》、《九龍城寨之圍城》、《破．地獄》，在內地市場相當賣座，口碑、票房和國際反應都不錯；但有資深製片人表示，這只是個別電影的成績，整個電影行業仍是死氣沉沉。下篇再拆解有何辦法挽救香港電影業。
How Can the Hong Kong Film Industry Be Revived?
During the Chinese New Year, it has been a long-standing tradition in Hong Kong for families to gather at cinemas to watch "New Year movies." However, according to statistics from the Hong Kong Box Office Limited, the total box office revenue during the five-day New Year period from New Year's Eve to the fourth day of the Lunar New Year this year was only about HKD 30.6 million, a 37% drop compared to the same period last year and nearly a 60% decline compared to pre-pandemic 2019, marking the worst performance in the past decade. The Hong Kong film industry is currently in a slump.
In contrast, mainland cinemas were bustling during the Spring Festival. According to statistics from the China Film Administration, as of the morning of February 5, the box office revenue for the Spring Festival period reached RMB 9.51 billion, with 187 million moviegoers, setting a historical record. The box office champion was the animated film "Nezha: Birth of the Demon Child," which grossed over RMB 5 billion. I am not surprised by the success of an animated film achieving such results. I remember watching another animated film, "Chang An," two years ago, and I was already very impressed by its vivid characters and complete storyline, which is a significant achievement for China's creative industry.
A seasoned producer remarked that "the Hong Kong film industry is almost finished." I believe the first reason is the lack of investors. Many former investors have become hesitant, leaving only a few big stars like Louis Koo and a handful of companies to invest in films. The second reason is the change in entertainment habits among Hong Kong people. Globally, the film industry has lost many customers to streaming platforms. Nowadays, many blockbusters, such as "Gladiator II," can be quickly viewed on streaming platforms, and young people are satisfied with watching movies on their phones, leading to a significant shrinkage in cinema audiences. Last year, nine cinemas in Hong Kong announced closures or suspensions of business.
Another reason is that Hong Kong's market is ultimately small. After China opened its market, Hong Kong filmmakers, directors, and actors have flocked north to "make real money," and they have achieved considerable success in the mainland. For example, two mainland hit series, "Eternal Love" and "The Untamed," both had Hong Kong directors involved. It is said that Hong Kong directors are quite popular in the mainland because they know how to save money.
Although there have been several outstanding Hong Kong films in recent years, such as "A Guilty Conscience," "Twilight of the Warriors: Walled In," and "The Last Dance," which have been quite successful in the mainland market with good word of mouth, box office, and international response, a seasoned producer stated that these are just the achievements of individual films, and the entire film industry remains lifeless. The next article will explore ways to revive the Hong Kong film industry.
我在1 月底參加完瑞士達沃斯世界經濟論壇後，難得在剛過去的春節長假期中覓到數日空閒時間。我趁此機會，久違地到戲院觀賞最近上映的賀歲片《封神第二部：戰火西岐》（《封神二》）。
作為導演烏爾善的《封神三部曲》的第二部，電影仍然維持着《封神第一部：朝歌風雲》（《封神一》）的高製作水準。電影的製作成本高達6億，雖然未及《封神一》的8 億成本，但電影在視覺特效和動作場面上實現了全面升級。《封神二》全片有多達超過2000 個特效鏡頭，製作方為此專門聘請了美國頂級特效專家為電影製作視覺特效，最終呈現的成果相當優秀。
除此之外，製作方亦非常懂得選角。我尤其欣賞飾演女主角鄧嬋玉的演員。原著中的鄧嬋玉是紂王手下大將鄧九公之女，是名驍勇善戰的女將。製作方為此特地挑選身高約一米七、懂得騎射的蒙古族女演員那爾那茜飾演該角，果然將鄧嬋玉英姿颯爽的氣質表現得纖悉無遺。
《封神一》故事結尾講述西伯侯之子姬發在經歷一系列事件後，發現商紂王殷壽心術不正，最終逃離朝歌回到西岐的故事。而《封神二》則承接第一部結尾，將故事聚焦於紂王征伐西岐的戰事上。其中有一幕講述伐周大將聞仲親自佈下「十絕陣」，陣法令西岐陣營的一眾大將招架不住，紛紛倒地。該段劇情不禁讓我聯想起2005 年的電影《強戰世界》中外星人用殺人光線大肆破壞的場景，印象特別深刻。故事最終以鄧嬋玉以命相搏，攜手姬發大破十絕陣，西岐軍民成功保衛家園收尾。但電影亦留下彩蛋，引出術士申公豹及其背後的通天教勢力，相信是為第三部埋下伏筆。
《封神二》的故事大致忠實於原著，改動較大的一點是為姬發與鄧嬋玉加插一段愛情故事，讓兩者在相互交戰中萌生情愫，使姬發較原著顯得更為人性化。總體而言，《封神二》劇情鋪排相當緊密，加上演員優秀的演出及頂尖的視覺特效，實在不失為一套優秀的賀歲電影。
Viewing "Creation of the Gods II: Demon Force" During the Chinese New Year
After attending the World Economic Forum in Davos, Switzerland at the end of January, I had the rare opportunity to have a few days of free time during the recent Chinese New Year holiday. Seizing this chance, I went to the cinema to watch the recently released Chinese New Year film "Creation of the Gods II: Demon Force: War of the Western Shang" ("Creation of the Gods II").
As the second part of Director Wu Shan's "Fengshen Trilogy," the film maintains the high production standards set by "Fengshen Part One: The Storms of Chao Ge" ("Creation of the Gods I"). With a production cost of up to 600 million, though not as high as the 800 million cost of "Fengshen One," the film has achieved a comprehensive upgrade in visual effects and action scenes. "Fengshen Two" features over 2,000 special effects shots, with the production team specially hiring top American special effects experts to create the visual effects for the film, resulting in an excellent outcome.
In addition, the production team has shown great skill in casting. I particularly admire the actress who plays the female lead Deng Chanyu. Deng Chanyu in the original work is the daughter of Deng Jiugong, a general under King Zhou, and is a brave and skilled female warrior. For this role, the production team specifically chose Mongolian actress Nairenaqian, who stands at about 1.7 meters tall and is skilled in equestrian archery, to portray Deng Chanyu. She truly embodies the heroic and spirited qualities of Deng Chanyu.
At the end of "Fengshen One," the story tells of the son of the Marquis of Western Bo fleeing Chao Ge back to Western Shang after experiencing a series of events and discovering the corrupt nature of King Zhou. "Fengshen Two" continues from the end of the first part, focusing on the war launched by King Zhou against Western Shang. One scene depicts the famous general Wen Zhong personally setting up the "Ten Absolute Array," causing the generals of Western Shang to fall one by one. This scene inadvertently reminded me of the 2005 movie "War of the Worlds," where aliens wreak havoc with their death rays, leaving a lasting impression. The story culminates with Deng Chanyu sacrificing herself to break the Ten Absolute Array alongside Ji Fa, leading to the successful defense of their homeland by the people and army of Western Shang. The movie also leaves a cliffhanger, introducing the sorcerer Shen Gongbao and the power of the Heavenly Alliance, setting the stage for the third part.
"Fengshen Two" stays largely faithful to the original work, with one significant change being the addition of a love story between Ji Fa and Deng Chanyu, allowing them to develop feelings for each other amidst their battles, making Ji Fa more humanized compared to the original work. Overall, the plot of "Fengshen Two" is tightly woven, combined with excellent performances by the actors and top-notch visual effects, making it truly an excellent Chinese New Year film.
文章刊登時是年初五，我先在此恭祝各位讀者蛇年福星高照、萬事如意、闔家安康。
過去一年，特區政府推出了多項政策措施振興本地經濟，尤其在旅遊業方面着墨甚多。雖然旅遊業仍然處於復蘇階段，但從來訪的旅客數字上看，政府的措施已初見成效。
旅遊發展局總幹事程鼎一先生在一個電台節目中透露，由大除夕至年初三，約有68 萬人次旅客訪港，其中內地旅客有56.4 萬人次，比去年同期多4%；非內地旅客則有11.4 萬人次，上升16%。
我認為訪港旅客數量上升主要得益於兩個因素：客源市場的擴大及更為多元的旅遊體驗。
為積極吸引更多不同的旅客來港，行政長官於去年《施政報告》中提出要開拓中東和東南亞國家聯盟（東盟）旅客客源。就此，特區政府率領歷來到訪中東最大規模的本地業界訪問團到迪拜參與中東地區的大型旅遊業展覽，與當地旅遊業界建立連繫，希望吸引更多穆斯林旅客訪港。有關措施的成效亦十分顯著：旅遊發展局的數據顯示，來自卡塔爾、阿聯酋及沙特阿拉伯等海灣合作國家的旅客於去年12 月就錄得46.4% 升幅！此外，來自日本、韓國、菲律賓及俄羅斯等地的旅客亦有顯著的升幅。
除積極開拓更多新的客源市場外，政府亦有努力發展更多具香港特色的旅遊景點，希望擺脫過往香港旅遊業依賴餐飲及零售消費的印象，以加強旅客在港的體驗。比方說，香港市民習以為常的賽馬對於內地遊客而言就顯得十分新奇。年初三在沙田馬場舉行的「農曆新年賽馬日」就吸引共9654 名遊客入場，其中內地旅客佔高達九成，反映活動對遊客有着相當的吸引力。
我認為，隨着政府逐步落實《香港旅遊業發展藍圖2.0》中的各項措施，旅業復蘇的速度將進一步加快，重新發揮其作為香港四大支柱產業之一的功能，幫助香港經濟「再起飛」。
Government's "attraction" measures are gradually showing results
At the time of publication, it was already the fifth day of the Chinese New Year. I would like to take this opportunity to extend my best wishes to all readers for a prosperous Year of the Snake, good fortune, and health for the whole family.
Over the past year, the SAR government has implemented multiple policy measures to revitalize the local economy, with a particular emphasis on the tourism industry. Although the tourism sector is still in the process of recovery, the government's measures have shown initial signs of success based on the number of visitors.
Mr. Dane Cheng, Executive Director of the Hong Kong Tourism Board, revealed during a radio program that from the eve of Lunar New Year to the third day of the new year, approximately 680,000 visitors came to Hong Kong. Among them, there were about 564,000 mainland Chinese visitors, an increase of 4% compared to the same period last year; non-mainland visitors numbered 114,000, an increase of 16%.
I believe the increase in visitor numbers is mainly due to two factors: the expansion of the source market and a more diverse tourism experience.
To actively attract a more diverse range of visitors to Hong Kong, the Chief Executive proposed in last year's Policy Address to explore the source markets of the Middle East and the Association of Southeast Asian Nations (ASEAN) countries. In response, the SAR government led the largest local industry delegation to Dubai for a major tourism expo in the Middle East, establishing connections with the local tourism industry in the hope of attracting more Muslim visitors to Hong Kong. The effectiveness of these measures is also significant: according to data from the Hong Kong Tourism Board, visitors from Gulf Cooperation Council countries such as Qatar, the United Arab Emirates, and Saudi Arabia recorded a 46.4% increase in December last year! In addition, visitors from Japan, South Korea, the Philippines, and Russia also saw significant increases.
In addition to actively exploring new source markets, the government is also making efforts to develop more tourist attractions with unique Hong Kong characteristics, aiming to move away from the impression that Hong Kong tourism has traditionally relied on dining and retail consumption to enhance the visitor experience in Hong Kong. For example, horse racing, a common activity for Hong Kong residents, appears very novel to mainland Chinese tourists. The "Lunar New Year Race Day" held at Sha Tin Racecourse on the third day of the Lunar New Year attracted a total of 9,654 visitors, with mainland Chinese tourists accounting for as much as 90%, reflecting the considerable appeal of the event to visitors.
I believe that as the government gradually implements various measures outlined in the "Hong Kong Tourism Industry Development Blueprint 2.0", the pace of tourism industry recovery will further accelerate, allowing it to once again play its role as one of Hong Kong's four pillar industries, assisting Hong Kong's economy in "taking off" once again.