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新民黨 提交2025/26年度《財政預算案》建議書
新民黨 提交2025/26年度《財政預算案》建議書
日期︰2025 年 1 月 15 日
特區政府正就2025/26年度《財政預算案》展開公眾諮詢。新民黨主席暨立法會議員葉劉淑儀女士、新民黨常務副主席暨立法會議員黎棟國先生、新民黨副主席暨立法會議員容海恩女士、新民黨執委暨立法會議員陳家珮女士、新民黨中委暨立法會議員李梓敬先生、新民黨中委暨立法會議員何敬康先生、新民黨副主席暨沙田區議員潘國山先生、新民黨中委暨東區區議員盧曉楓先生及新民黨中委暨屯門區議員甘文鋒先生 ,今日(15日)會見財政司司長陳茂波先生,提交《財政預算案》建議書(詳見附件),共提出16項建議,涵蓋刺激經濟及公共財政管理兩方面。
新民黨與財政司司長會面後會見傳媒,公布提交的各項建議細節。
新民黨主席暨立法會議員葉劉淑儀表示:「新民黨在刺激經濟方面的建議,分為盡快刺激香港消費及長遠建立新產業兩方面。要建立新產業,需要大量資金投放及長時間,不能即時見效,以香港目前的經濟模式,最容易帶動本地消費的是刺激股市及樓市。刺激股市方面,很高興看到人民銀行行長潘功勝最近表示,由2月開始會推出一千億人民幣貿易融資流動資金方案支持香港,是非常好的消息,有六大加強互聯互通的建議,這些措施是垂直式閉環管理。新民黨建議設立『IPO通』,研究容許兩地投資者有限度相互買賣兩地首次公開招股(IPO)的股份,當中應設較低額度及加入一定限制,以管控相關風險,例如只開放集資10 億港元或以上的首次公開招股,並設立內地認購比例限額,如不超過發行量的 20%,將有助『A股』來港上市,及有助內地企業透過香港的資本市場來國際化。」
葉太指出,2024 年全年錄得超過 4.75 萬宗一、二手私人住宅買賣登記,當中有近25%的買家姓名為「普通話拼音」人士,他們平均購買的房產約為一千萬,新民黨建議特區政府與中央政府商討,在設有一定額度及封閉管道下,以「地產通」形式,便利內地投資者及企業在香港購置物業,對本港樓市有即時刺激作用,同時鼓勵地產商再次買地或補地價,增加特區政府庫房收入。
公共財政管理方面,葉太強調:「本港財赤非常嚴重,連同發債及不同基金回撥,財赤超過二千億,近五年中,有四年亦超過千億,可以成為結構性財赤,對香港的金融穩定性不利,因此新民黨希望財政司司長採取果斷措施,特區政府應大刀闊斧考慮以削減5%經常開支為目標,直至收支平衡。特區政府擁有19萬公務員的龐大編制,認為有空間可以削減。同時,我們建議今年凍結公務員薪酬,當公務員加薪3%時,開支已達87億元,若公務員凍薪,能夠節省很龐大的開支。另外,公務員編制為19萬,但數年來實際人數約為17萬,即是招聘有困難,我們建議押後招聘六個月,相信能節省不少開支。」
新民黨常務副主席暨立法會議員黎棟國表示,為政府收入「開源」方面,新民黨建議政府提高違反交通規例的罰款,如超速駕駛及不遵守交通燈號等;違反交通規例有機會造成相當嚴重的後果,增加罰款既有阻嚇作用,同時可為政府庫房增加收入。環顧周邊地區、同等經濟發達程度的地區,香港的相關罰款屬於非常低的水平,有空間調整。
黎棟國議員強調新民黨並不贊成特區政府增加必要的民生收費,然而政府收入之中有部分不屬必須的民生收費,特區政府可考慮以「用者自付」原則收回更多成本。他續指,自從屯門—赤鱲角隧道開通後,青馬大橋亦不收費,然而營運開支及維修保養費用仍然高昂,隨着「易通行」的使用,已不需使用收費亭,在這個大前提下,特區政府可考慮恢復收取這方面的費用。差餉方面,他認為可依照2022/23年度《財政預算案》提出引入住宅物業累進差餉的思路,檢視調整其他樓宇差餉徵收率的可行性。
新民黨副主席暨立法會議員容海恩表示,新民黨希望透過人工智能提升經濟效益。香港在去年推出逾 200 項盛事,但是有不少地區活動未有包含在內,建議透過人工智能數據庫,特區政府建立一站式資訊平台,提供「盛事日表」,更新每日盛事的最新資訊,並配合 18 區區議會,提供地區活動資訊,帶動地區經濟。容海恩議員期望特區政府支持中小企發展,建議特區政府整合現有工具,例如利用商湯科技的人工智能大數據,透過人工智能進一步提升平台效能,以及「盛事經濟」、「地區經濟」所帶來的商機和經濟效益。
新民黨執委暨立法會議員陳家珮指出,香港正努力向2035年的碳中和目標邁進,環顧全球碳交易帶來不少新商機,建議參考內地「國家核證自願減排量」(CCER)的做法,考慮由特區政府發行類似的碳信用額及相關產品,例如已推出的「可再生能源證書」,在形成節能減碳與經濟高質量發展的協同效應之外,為特區政府帶來額外收入。
新民黨中委暨立法會議員李梓敬指出,為推動盛事經濟及旅遊業,特區政府推出不同計劃,包括文化藝術盛事基金、「M」品牌等資助不同盛事來港舉辦;然而近年我們留意到這些基金資助的活動出現不少爭議,讓市民有所質疑;有鑑於此,新民黨建議在「文化藝術盛事基金」的審批引入「經濟效益」作為績效指標之一,以確保政府資助的盛事真正能夠為香港帶來正面經濟收益。
新民黨中委暨立法會議員何敬康說,每年都有很多重大國際會議在港舉行,每次都有國際知名的金融專家、管理層來港,以及數千人出席參與,對香港與國際接軌及引進新商機有非常大的幫助。何敬康議員表示,過往數年香港流失了不少重要會議至鄰近地區,新民黨希望未來特區政府可主動游說業界,讓過往未曾來港舉辦及流失了的盛事可以來港舉行,增進香港的國家優勢及振興旅遊酒店業。何敬康議員建議特區政府與中央政府商討,研究在 2027 年,由香港聯同大灣區城市舉辦首屆「一帶一路」運動會,貢獻「一帶一路」建設,增加與「一帶一路」成員國的聯繫,同時增進香港舉辦大型盛事的經驗,提高旅遊及運動產業的經濟效益。
新民黨中委暨東區區議員盧曉楓博士建議打造香港成為食品貿易中心。食品是全球貿易的重要支柱,亦是各個發達經濟體的重要貿易品類,香港加上內地市場,已是全球最大的食品消費國,特別是生鮮食品,在水產類、水果類和牛肉類已分別超過200億美元年進口量,以榴槤為例,已由2019年的16億美元進口量,增至去年的70億。盧曉楓博士認為,香港作為全球重要的航空樞紐,香港國際機場亦為全球首個獲得國際航空運輸協會鮮活貨物運輸(IATA CEIV Fresh)認證的合作夥伴機場,香港在這方面有優勢,新民黨希望特區政府進一步支持業界,發展香港成鮮活食品貿易中心,連同內地供應商、海外生產源頭聚集在香港,並發展供應鏈、加工中心,將相關產業鎖定在香港。
建議書下載:
新民黨財政預算案建議書
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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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