碼頭與彼岸｜the pier, the other shore
shot by: autonomous 8a, local action, v-artivist｜main film editor: lee wai-yi｜assisting film editor: lau sze-hong, shum cheuk-hei｜produced by: v-artivist｜language: cantonese with chinese and english subtitles | 2010|hong kong|145 minutes|colour
That night,worn in black, sitting on the Edinburgh Place, yelling slogan.
In a sudden, a mind rose up that in the same place, there were a crowd of people calling to “planned by the people autonomously”, “ bottom-up people’s plan”, “decolonizing”, “ public space public use”, “democratization of planning”,“defending public space" , “ verifying the highly inclusive local cultural history" , “local literary writing”, etc.
At that time people were also facing a monster surnamed” Cheng”, appearing tender but indeed fierce. On one hand expressing gratitude towards people whom stayed to guard for they were not revolting vigorously, on the other hand demolishing the pier in force and lying to citizen with”to develop with conservation”.
After 10 years, people participating in social movement have upgraded, rolled over and variated. Watching the film at this moment, reinterpreting the relation between the particular moment in the past and the present, let’s think collectively ”what we would to build through the movement “?
How could the seeds of “plan by the people”, “ autonomous space” and “bottom up” be flourish and grow among the participants of the social movement?
起來！不願過勞死的人們 ｜A Normal Life, Please
what is a normal job like? 9 to 5, public holidays, sick leaves and labour insurance included?
going home off work every day to have a meal, take a bath, and have a few-hour sleep, is luxury to the person in this film. sky-scrappers emerge one by one in the city, behind the scene are outsource drivers delivering cement day and night, looping on a conveyor belt till death.
as the fragmentation of jobs and the outsource system is increasingly prevalent, people working hand to mouth becomes the ‘norm’ of many industries. how do we re-imagine a normal life? and how does one take the courage to break rules and fight the boss? why not quit and look for a new job, but resist and struggle all the way? in times where no traditional factories are in use and workers are not in contact with each other; is a labour union out of date? can we still accumulate power that makes our bosses afraid? old japanese stories 15 years ago, is still vivid in nowadays!
the word ‘karosi’ comes from japan and becomes popular internationally. it depicts the condition of workers overworking till death, reflecting how severe the problem is in japan. under neoliberalism, corporations outsource jobs frequently, and use extremely low wages to exploit workers in a ‘work hard – earn more’ wage system, in an attempt to cut cost.
草根‧創作‧交流｜grassroot , short films, exchange
[延伸活動]草根‧創作‧交流 ［ 城中村青年ｘ重建街坊］
grassroot , short films, exchange: young urban villagers x evicted kaifong -with screening of videos created by the neighbourhoods
時間 time：晚上7:30 p.m.
地點 venue：妖物唐三 tong3
嘉賓 guests ：城中村青年、重建街坊 young urban villagers and evicted kaifong
Located in the two distinct community spaces, the redevelopment area of Hong Kong and the urban village in Mainland China, the two neighbourhoods are both invited by outsiders to do community creation.
How do the two neighbourhoods’ people tell their personal stories under different scenarios? Given that the outsiders might bring their own expectations into the community, how do the neighbourhoods view those expectations? As community creation is neither related to “earn a living" nor close to “the mainstream aesthetics", how did it attract the participation of the neighbourhood? Is it just a wishful thinking of the facilitators? Let’s sit in circle and listen to the ideas of the people of neighbourhoods.