新民黨 十二周年黨慶 說好香港故事
日期︰2023 年 8 月 5 日
今年是香港回歸廿六周年，也是新民黨成立第十二周年。今天（5日）新民黨假香港會議展覽中心舉行十二周年黨慶典禮，邀請行政長官李家超先生、中聯辦副主任何靖先生、外交部駐港特派員公署署理特派員潘雲東先生、國安公署局長鄧建偉先生、政務司司長陳國基先生、財政司司長陳茂波先生、各副司長、多名政策局局長、行政會議成員、立法會議員、政府高級政務官員、區議員、公營機構高級管理人員、工商及多個專業界別翹楚、社團及地區組織領袖與代表，場內設近七十圍接待賓客，全場近九百人出席參與慶祝典禮，盛況空前。
典禮於下午四時三十分開始，奏唱國歌後，先由行政會議召集人、立法會議員暨新民黨主席葉劉淑儀女士致歡迎辭（附件一為致辭全文），她稱香港正處世界百年未有之大變局，在行政長官領導下，香港在經濟、房屋供應等多方面發展取得良好進展，邁向由治及興新階段，回顧了新民黨的工作，包括向世界說好香港故事、服務地區及培養人才等，希望市民繼續支持新民黨的工作。
然後是立法會議員暨新民黨副主席容海恩女士致謝辭（附件二為致辭全文），她感謝各界支持，讓新民黨在議會及地區工作順利進行，也寄望年底的區議會選舉，新民黨有年輕黨友能參與其中。
十二周年黨務興隆 社會和諧進步
葉太與容副主席致辭後，邀請行政長官李家超先生、何靖副主任、潘雲東署理特派員、鄧建偉局長、政務司司長陳國基先生、財政司司長陳茂波先生、立法會主席梁君彥先生，與新民黨副主席潘國山先生、陳家珮議員、李梓敬議員、何敬康議員，與各中央委員，在台上進行切蛋糕與祝酒儀式，祝賀新民黨黨務興隆，更上一層樓！也祝願香港再創高峰！
拍短片致賀 展現活力與祝福
台上儀式完成後，場內播放新民黨精心製作的慶祝短片，率先播出的短片，是新民黨積極「說好香港故事」，新民黨多位成員，在黨主席葉太帶領下，向西方媒體發聲，例如在不同外國媒體投稿、接受訪問，講出香港的真實情況，未來新民黨各成員將繼續堅定不屈，向世界說好香港故事。
新民黨立法會議員何敬康，除了積極向外界「說好香港故事」，他也喜歡歌唱。今天他即席獻唱一首《無限之城》，憑歌詞寄意，表達香港掌握新動向，無限新氣象，懷著理想，向未來翱翔的希望！他的歌聲獲全場熱烈掌聲支持！
兩位政助任嘉賓司儀 帶動全場氣氛
新民黨培育不少政治人才，其中兩位黨友——勞福局政治助理傅曉琳女士與創新科技及工業局局長政治助理廖添誠先生，今天特別擔任嘉賓司儀，介紹新民黨邀請民政及青年事務局局長麥美娟女士、陳家珮議員與多位社區發展主任一起拍攝短片，透過遊戲介紹特區政府完善地區治理與青年發展的工作。
副主席容海恩議員則與律政司副司長張國鈞先生拍攝短片，與年輕黨員一同進行「特別任務」，讓各位投入「飛躍灣區之旅」，認識大灣區的專業資格互認，共同融入大灣區建設。
新民黨非常感謝地區義工一直支持，默默付出，新民黨今天特別表揚傑出義工，李梓敬議員在台上與獲嘉許的傑出義工大合照，向他們表達謝意。
新民黨感謝各界人士的出席與支持，希望未來會延續服務香港的精神，也祝願香港更快融入國家發展大局，經濟社會等繼續平穩發展。至於今天的黨慶典禮活動至近下午五時三十分圓滿結束，全場氣氛熱烈歡樂。
葉劉淑儀12周年黨慶致辭
容海恩12 周年黨慶致辭
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香港電影業如何起死回生？/ How Can the Hong Kong Film Industry Be Revived?
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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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觀《封神第二部》度歲 / Viewing "Creation of the Gods II: Demon Force" During the Chinese New Year
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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.
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政府「吸客」措施漸見成效 / Government's "attraction" measures are gradually showing results
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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.
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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.
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.