導演:林森|製作:香港演藝學院電影電視學院2011年畢業班|語言:廣東話及烏都語/中文及英文字幕|2011/香港/彩色16mm底片/23分鐘

近年來,香港城市發展的速度,就有如高速鐵路般一直飛奔。舊區如深水埗、大角咀、觀塘等地區首當其衝,都變成地產商、發展商的淘金地。大眾媒體所報導的往往只著重數字,但其實對一個舊社區來說,如今這種急速的重建步伐,所影響的除了數字外,還有生活在其中的人。

故事中的十歲新移民暉仔與母親成功申請來港,與繼父一家三口在深水埗一間狹隘的獨立套房裡居住。一次街上的偶遇,暉認識了在香港的第一個朋友,巴基斯坦裔的簡志文,兩人迅成為好友。可是,剛萌芽的友誼卻將受到舊區重建的影響,面臨考驗…

乘著高速的「發展號」列車,我們終究會否一去不返?

Director: Lam Sum|Production: Year 2011 Graduate Class of the Film & TV School of the Hong Kong Academy of Performing Arts|Cantonese and Udu, with Chinese and English Subtitles|2011 / Hong Kong / 16mm Colour Film / 23min

Fai, a ten years old boy who’s a new immigrant from mainland China, he lives in a narrow suite with his mother and his step-father.

The step-father loves gambling, the mother works long hours and seldom at home, Fai vaguely has the idea of “family”.

 

One day, he met a Pakistani boy Khan, who was born and raised in Hong Kong. Khan, as a local, shown Fai of his new home and brought him to family dinners. However, while the friendship is building up, Khan’s family has to move out of the community because of the city redevelopment and the rising property cost. The city seems lonely and helpless for everyone.

 

The only thing Fai wants to do, is to bid Khan farewell, the only connection between this city and him.

 

導演: Franklin López  | 製作: submedia.tv | 2011/加拿大/英語及中文字幕| 75分鐘

現代的文明將把我們帶往何方?有限的地球資源是否可被無限地剝奪?如果我們正在慢慢製造自已的末日,現在該有什麼覺悟?如果是一些政府財團在加速我們的末日,我們又應該做什麼?即將遭受商業坎伐的山林裡的原住民說:「如果有人想強奸你母親,你會做什麼?他們現在就是要強奸我母親,這片山林就是我們的母親!」他們選擇反抗,我們呢?

Director: Franklin López |Production: submedia.tv|English with Chinese Subtitles|2011 / Canada / 75min

END:CIV examines our culture’s addiction to systematic violence and environmental exploitation, and probes the resulting epidemic of poisoned landscapes and shell-shocked nations. Based in part on Endgame, the best-selling book by Derrick Jensen, END:CIVasks: “If your homeland was invaded by aliens who cut down the forests, poisoned the water and air, and contaminated the food supply, would you resist?”

The causes underlying the collapse of civilizations are usually traced to overuse of resources. As we write this, the world is reeling from economic chaos, peak oil, climate change, environmental degradation, and political turmoil. Every day, the headlines re-hash stories of scandal and betrayal of the public trust. We don’t have to make outraged demands for the end of the current global system — it seems to be coming apart already.

But acts of courage, compassion and altruism abound, even in the most damaged places. By documenting the resilience of the people hit hardest by war and repression, and the heroism of those coming forward to confront the crisis head-on, END:CIV illuminates a way out of this all-consuming madness and into a saner future.

Backed by Jensen’s narrative, the film calls on us to act as if we truly love this land. The film trips along at a brisk pace, using music, archival footage, motion graphics, animation, slapstick and satire to deconstruct the global economic system, even as it implodes around us. END:CIV illustrates first-person stories of sacrifice and heroism with intense, emotionally-charged images that match Jensen’s poetic and intuitive approach. Scenes shot in the back country provide interludes of breathtaking natural beauty alongside clearcut evidence of horrific but commonplace destruction.

END:CIV features interviews with Paul Watson, Waziyatawin,  Gord Hill, Michael Becker, Peter Gelderloos, Lierre Keith, James Howard Kunstler, Stephanie McMillan, Qwatsinas, Rod Coronado, John Zerzan and more.

La Commune1871

創作:AnieBoyet、黃翼萬、甘冠智等|製作﹕TIWA| 語言:國語、福建話、巴哈莎語、泰加隆語及中文字幕|2010 / 台灣 / 52’36”

「轟」在國語音與英文Home相似,就是希望勞工拍出自己對生活的想法,把藝術創作與Homevideo的概念連在一起。台灣國際勞工協會(TIWA)努力鼓勵勞工創作, 繼「勞動轟拍」、「工傷轟拍」之後,於2009年初進行了將近一年的「移工轟拍影像工作坊」,完成了數部「移工轟拍」系列影片,包括移工紀錄自己來台的工作/生活,及­本地勞工朋友拍攝關於移工主題的影片 。(這個系列的影片會於[本土異鄉人]短片系列放映,但由於創作人將特地來港分享, 故特設一場主要放映[移工轟拍]的影片。)

第九屆得以舉辦,謹向以下各位人士致謝:

菜園村關注組、順寧道重建關注組、中大女工同心合作社、中港家庭權益關注組、荃灣明愛中心、民間生活館、同根社、婦女貧窮關注會、中文大學基層關注組、勞資關係協進會、順寧道義工支援組、菜園村支援組、街坊工友服務處、香港婦女勞工協會、香港藝術中心、香港獨立媒體、梁志遠、林森、郭臻、鄭健業、中文大學學生會、中文大學學生報、唐三、工人文學獎、TIWA、FADWU、Information and Culture Exchange、陳榮照、李懷國、Boyet、Anie、Navid Pishvaei、Hamideh Hashemi、Yamane Fayed、Naima Kulane、黃翼萬、甘冠智、Roxie Vuong、Saleh Saqqaf、 Hayat Esmaeily、 Sandy Shamoon、 Ali Fayazi、 小小鳥打工互助熱線、廣東番禺打工族服務部、 Franklin Lopez、 DerrickJensen、 關注綜援檢討聯盟、 居留權小學、阿娣、阿燕、 阿春、 阿杰 、劉榮華、 Lina、Kenneth、 阿成、 Kalis、 William、 Glen、 Phoebe、 Damon、 Pat、唐睿、 黃傑業、 蘇蘇、 劉思航、 段玉、 新工人藝術團、 半邊天公益、 手牽手工友活動室、小小草《工友天地》編委會、女工開枝散葉種藝團 – 婦女組、孟曉強 、Samuel Luret、Alain Bertho、Peter Watkins, Fernando E. Solanas, Marina Cane Solanas、Mouna.Zaylah、Samantha Lavergnolle、 Rebond pour la Commune、Tommy、Ruckus、Yuen Han Yan、 Edith Chiu、Winnie Lo、周志賢、劉超、何楊、艾曉明

以及

一切在影片中及影片幕後,曾經、正在為人世的公義在奮鬥不懈的人們,未能盡錄,僅此致歉。

第九屆香港社會運動電影節 |影像.感動.思索.行動

延伸活動: 講座【地方想像、民間敍事與集體潛意識】

日期:24112011 時間:晚上730PM

地點:基督徒學會 (旺角道11號藝旺商業大廈10F

講者:張歴君博士(中文大學文化及宗教研究系導師)

1970年代開始,在大多數人文地理學的研究和討論裡,「空間」(space)和「地方」(place)已成了一對被截然劃分開來的對立概念。可以說,地方就是一種透過生活經驗去觀看、認識和理解世界的方式。當我們以這種方式理解世界時,我們便能從中看到「人與地方之間的情感依附和關連」,亦即「意義和經驗的世界」,而這種地方的觀看方式則往往成為我們賴以抵抗「把所有空間約化為可計算的商品及金錢的空間概念」的據點,也是很多人抵抗資本全球化造成的文化單一化的據點。在過去十多年裡,伴隨著針對「官僚理性的城市規劃模式和地產霸權」的民間批判運動的展開,集體回憶、本土文化和地方認同已成了香港文化界普遍關注的熱門話題。由此可見,「本土論述」確有其存在的合理性。

可是,沒有「他們」,就難以介定「我們」,此乃人之常情,但問題是,什麼時候,這個純粹的「不同」變成了等級的不同。世界史上發生過大大小小的排外事件,總會由個別的言語攻擊,演變為集體的輿論攻擊,最後會演變為(正規或非正規的)有組織的肉體攻擊。這一切,也源於一種「本土論述」。

近年香港排外情緒濃烈,許多人都會驚訝於互聯網上各種對「非我族類」的刻毒攻擊。不少人也會驚訝於在街上遇到的一般市民,只要一提起某些身份的人,就會忽然怒火攻心,無論你與他客氣理性討論也好,展示出實際的統計數字也好,都無法讓他們冷靜下來。

「本土」,其實也建基於一個各保守政客與進步力量都想爭奪的一個總體名稱:「我們」 。這個「我們」是建基於一個集體的地方認同,而最能制動地方認同的,就是集體想像──民間傳說和本土信仰對地方的敘事想像。可見,地方想像與普羅草根的民間敘事有密切關係。這種關係,每當面對社會變動時,也會隨之改變,問題是,怎樣的改變,會為我們帶來向著自由、開放、平等的社會進發的道路?

本講座嘗試初步釐清,這些我們往往熟視無睹的民間小敘事與本土文化政治之間錯錝複雜和曖昧不明的關係。我們亦會在討論中引入榮格(Carl Jung)的集體潛意識概念以及德勒兹(Gilles Deleuze)和加塔利(Felix Guattari)的集體性配置概念,從這些(反)精神分析的洞見入手,重新檢視民間敘事與文化政治接軌時可能引發的種種不同的社會文化效應。

主辦:第九屆香港社會運動電影節

查詢:81012056/ smff@riseup.net  網誌:https://smff2011.wordpress.com

日期: 6/11/2011   時間: 2:30﹣6:30pm

地點: 唐三(太子 上海街716號唐三樓)

名額:20人

簡介:

世上為何有移民?為何有移民工?在我們這個全球化世代,移民的故事,到底是否只是「有一些人移動了」那麼簡單?反過來說,「本土」的概念,時而激進,時而保守,在面對「外來者」時,是只有靜止不變的形象,還是可能有多少不同的面向?

在藝術創作上,現實主義傳統要求我們把握社會現實的整體狀況而創造出典型;浪漫主義講求進入人物個人的內心世界;存在主義叫我們把握社會現實的荒謬性;後現代主義想我們不再看大歷史,要從紛紛陳陳的小歷史中找尋歷史的複調性。這些創作的想法,是否都可以融合在一起呢?

移動、撞擊 move and hit

在資本全球化之下,資本四處自由行,基層勞動人口則為口奔馳被迫四處流徙。離鄉別井,不同語言不同生活習慣的人短時間裡要混在一起,撞擊、磨擦在所難免。可是,當生命撞擊生命,其結果必然是負面的嗎?一定不會有新發現嗎?這些撞擊與磨擦,真的是不可預知的「命運」?還是人為創造的「歴史」?

故事創作,也是一種生命撞擊生命的過程。創作的過程中,創作者的生命經驗,會撞擊他/她心目中的角色、這個角色所生存的歴史時空、還有這個角色在真實生活中的原型。這是一個與他者生命經驗撞擊的過程。

因此,認真的故事創作者,也是一個移動的人,移離本來的位置、本來的想法、本來的經驗﹣﹣關於這種移動,我們卻有另一種詞語:「創意」。

反教化經驗de-learn

這次工作坊,我們同時要扮演說故事的人和質疑故事的人,希望在這幾重撞擊經驗之下,參與者都經驗一次「反教化」(de-learning)的經驗:各種的修辭手法是否只是手法?各種的描述方式如何暗藏殺機?各種個人小故事與社會、歴史何干?誰是「我們」?

希望透過一起說故事的練習,我們可以從中發現,在自我與他人之間的更多可能性。

主辦:第九屆香港社會運動電影節

報名/查詢:81012056/ smff@riseup.net 網誌:https://smff2011.wordpress.com

Selected films are provided with English subtitles.

Drifting

Director: Lam Sum|Production: Year 2011 Graduate Class of the Film & TV School of the Hong Kong Academy of Performing Arts|Cantonese and Udu, with Chinese and English Subtitles|2011 / Hong Kong / 16mm Colour Film / 23min

Fai, a ten years old boy who’s a new immigrant from mainland China, he lives in a narrow suite with his mother and his step-father.

The step-father loves gambling, the mother works long hours and seldom at home, Fai vaguely has the idea of “family”.

One day, he met a Pakistani boy Khan, who was born and raised in Hong Kong. Khan, as a local, shown Fai of his new home and brought him to family dinners. However, while the friendship is building up, Khan’s family has to move out of the community because of the city redevelopment and the rising property cost. The city seems lonely and helpless for everyone.

The only thing Fai wants to do, is to bid Khan farewell, the only connection between this city and him.

Homecoming

Director: Kwok Zune / Producer: Leung Pui Yi, Leung Pui Pui|Cantonese, English and Takalog, with Chinese and English Subtitles|2009/ Hong Kong / 16mm Colour Film / 31min

A mother leaves her family, because she loves her family, yet what she gets in return is the unbearable weight of reality.

Filipina Charlie left her little boy and came to Hong Kong to be a maid. She has been the main breadwinner for the family for more than twenty years. And for more then twenty years, her family has been torn apart. As she retires, she thinks she will be able to live with her son who just graduated from university…

The Hour of the Furnances

Director: Fernando E. Solanas, Octavio Getino |Production: Pino Solanas|Spanish with English and Chinese Subtitles|1968 / Argentina / B&W / 248min

The Hour of the Furnaces is a product of the raging 60s. It was a response by directors Fernando E. Solanas and Octavio Getino to the Argentine military Junta and to the Latin American liberation movements. It is also a manifesto against commercial film (the First Cinema) and art film (the Second Cinema). The directors proposed the Third Cinema and new ways of making and critiquing films (In short, it integrates Film with Action to effect change in society; and to affect  audience with reason as well as emotion turning them  from passive consumers into active participants .) The film successfully blends theory, action, form and content into a brand-new art form, investigating the notions of ‘violence / armed force’ and (neo)colonialism, which are still relevant to Hong Kong today. The film was banned in Argentina. Yet it has attracted great attention in international film circle and washailed a classic of ‘revolutionary film’, ‘militant film’ and so on. There are continuous interests in the Third Cinema. Conferences, books, discourses and studies on the subject turn up from time to time since its inauguration.

Extended Reading: Solanas and Getino’s article “Towards a Third Cinema” (http://www.documentaryisneverneutral.com/words/camasgun.html)

End of Civilization

Director: Franklin López |Production: submedia.tv|English with Chinese Subtitles|2011 / Canada / 75min

END:CIV examines our culture’s addiction to systematic violence and environmental exploitation, and probes the resulting epidemic of poisoned landscapes and shell-shocked nations. Based in part on Endgame, the best-selling book by Derrick Jensen, END:CIVasks: “If your homeland was invaded by aliens who cut down the forests, poisoned the water and air, and contaminated the food supply, would you resist?”

The causes underlying the collapse of civilizations are usually traced to overuse of resources. As we write this, the world is reeling from economic chaos, peak oil, climate change, environmental degradation, and political turmoil. Every day, the headlines re-hash stories of scandal and betrayal of the public trust. We don’t have to make outraged demands for the end of the current global system — it seems to be coming apart already.

But acts of courage, compassion and altruism abound, even in the most damaged places. By documenting the resilience of the people hit hardest by war and repression, and the heroism of those coming forward to confront the crisis head-on, END:CIV illuminates a way out of this all-consuming madness and into a saner future.

Backed by Jensen’s narrative, the film calls on us to act as if we truly love this land. The film trips along at a brisk pace, using music, archival footage, motion graphics, animation, slapstick and satire to deconstruct the global economic system, even as it implodes around us. END:CIV illustrates first-person stories of sacrifice and heroism with intense, emotionally-charged images that match Jensen’s poetic and intuitive approach. Scenes shot in the back country provide interludes of breathtaking natural beauty alongside clearcut evidence of horrific but commonplace destruction.

END:CIV features interviews with Paul Watson, Waziyatawin,  Gord Hill, Michael Becker, Peter Gelderloos, Lierre Keith, James Howard Kunstler, Stephanie McMillan, Qwatsinas, Rod Coronado, John Zerzan and more.

La Commune1871

Director: Peter Watkins |Production: 13 Production, La Sept Art,
Musée d’orsay|French with English and Chinese Subtitles|1999 / France / B&W / 345 minutes

For more information: http://www.mnsi.net/~pwatkins/     http://www.rebond.org/

1.

‘Look! This is where we shot the last scene yesterday.’ Two actors show the camera (us) the set where La Commune was made. Please do not think you are watching a documentary of the film for the camera will soon become the journalist/ cameraman of the Commune TV, going about interviewing people. Yes, I mean TV! In the film, you will watch TV news in 1871! Do not mistake this film for a farce as Peter Watkins is more serious than anybody else and few can match his concern for the society. He is also an ardent inventor in film and television arts. Anachronism is just one of his alienating tactics. In this film, actors sometimes play the roles and sometimes play themselves to talk about their feelings at the moment and commend on the characters. When a group of Commune women shift their discussion of French women’s predicaments in 1871 to that of 1999, men in the commune are talking about TV, the modern media, and the decline of Japan. Issues of different times and places juxtapose, intersect, and reflect on each other pressing and close to home.

As a film artist and activist, Watkins challenges the director centered traditional undemocratic way of filmmaking that renders audience as passive recipients. Watkins meticulously designed and controlled the production of La Commune but he also demanded and gave plenty of room for active participations from the actors. The director provides the backbone and the framework while everybody involved fills in the flesh and blood. For example, the important components of the film —dialogues and discussions— are taken from real discussions among actors during rehearsals who were told to play out the characters they have meticulously researched as well as their real selves in present day France. This is democratic collective creation in a controlled manner. On the activist level, he laments the lost of commitment and idealism and explains on his website why he made this film: “. . . the idea of commitment to a struggle for a better world, and of the need for some form of collective social Utopia [Paris Commune] – which WE now need. . . “and review many of the issues raised in the Commune but still failed to be resolve today. Therefore, he alienates the audience but requires them and the actors to participate at the same time in discussing many of the issues. For this purpose, he left a lot of space and information for audience to discuss (He did not mention it but such practice reminds me of an Argentinean documentary, Hours of the Furnaces, where the film stopped screening midway and asked audience to start discussion). The discussions inside and outside the film are parts of a social action. People playing members of the Women’s Union in the Commune later actually formed a group to fight for the issues raised in the film. Thus social action steps out of the screen and into our real lives. La Commune is Watkins at his best and is exemplary of using filmmaking as social action. In Britain, only Ken Loach’s works can barely match the strong social and political sense of Watkins’ and Watkins has an edge over Peter Greenaway in setting his experimentations on solid social grounds. This short introduction can hardly do justice to such a rich film as how to show and use the film already require great wisdom. I better leave our clever audience to fathom its depths.

***

2.

Inside a giant warehouse in a working-class Parisian suburb, Peter Watkins assembles a cast of over 200 non-professional actors (though their amateur status is undetectable). Basing their work upon thorough historical research, they will attempt tore- create the events of March, 1871-the rise and fall of the Paris Commune.

La Commune (Paris, 1871) explores that famous, brief, romantic, and tragic period when poor and working-class Parisians rose up against the “bourgeois” French national government, which fled the capital and re-established itself in Versailles. As this complex historical drama unfolds, it is also “ covered” by two television news crews – one from “National TV Versailles” which broadcasts the official version of events, the other from “Commune TV,” giving voice to the rebellious Communards.

Mixing past and present, revolutionary in form as well as content, Watkins’s audacious masterpiece forces us to confront notions of a safe or objective reading of the past, and also to reflect, inevitably, upon the present. No one who meets the challenge of La Commune (Paris, 1871) will be unchanged by the experience.

Reasons for the Rage

Director:Samuel Luret |Writer:Alain Bertho |Production: Morgane Production and ARTE France|French with Chinese Subtitles|2010 / France / 50min

Everywhere on earth is filled up with rage. Why those being ignored and powerless resort not only to tears, but also to force? In Greece, Denmark, France, Germany, Britain, or even in China, vigorous protests are happening. It is worth noting that, these incidents, which are stigmatized by the mass media as ‘riots’, mostly happened in the cities of the First World.

In order not to make simplified judgment towards the word ‘rage’, that is, to take it as an improper vent of personal emotion, we ought to understand, with the influence of capitalized globalization, what has been the fountainhead of rage for those being ignored.

Associated with the analysis by French sociologist, Alain Bertho, and philosopher, Toni Negri, these angry stories has reflected the reason of the general outbreak of riots under different political regimes. It also allows us to have a deeper understanding on the crisis, as well as the outbursts of anger of this era.

各放映地點地址:

自治八樓(天台)

旺角彌敦道739號金輪大廈天台

http://www.smrc8a.org

唐三

太子上海街716號唐三樓

勞資關係協進會

社區二手店長沙灣元州街267號 昌發工業大廈1字樓B座  (長沙灣地鐵站C1出口)

http://www.iri.org.hk/

香港獨立媒體

灣仔軒尼詩道365號富德樓9/F

http://www.inmediahk.net

香港藝術中心agnes.b 影院

灣仔港灣道2號 香港藝術中心

街坊工友服務處

葵芳邨葵仁樓地下1﹣3號街工互助幼兒中心

中文大學女工同心合作社外空地/中文大學本部范克廉樓玻璃房

中文大學本部游泳池側

http://www.hkwwa.org.hk/
http://cuco-op.blogspot.com/

中文大學民主女神廣場

中文大學港鐵站出中大出口

深水埗k22重建地盤側

興華街/元州街交界地盤圍板側

菜園新村

交通
1.錦上路西鐵站:的士(約$30)、巴士(64K往大埔方向,八鄉路站下車)、綠色小巴(72往雷公田方向,元崗新村、大窩村下車),沿元崗新村、大窩村牌坊路入。
2.太和火車站:64K八鄉路站下車,沿元崗新村、大窩村牌坊路入。
3.元朗:64K八鄉路站下車,沿元崗新村、大窩村牌坊路入。
4.大欖隧道巴士站轉乘251M巴士於八鄉路站下車下車。

民間生活館@藍屋

灣仔石水渠街74號藍屋地舖

荃灣明愛中心

荃灣城門道9(大窩口地鐵站B出口)

同根社

旺角塘尾道54-58 號永利工業大廈702 室   http://tonggen.org.hk/

婦女貧窮關注會

屯門石排頭路7號德雅工業中心C163 http://www.womenpoverty.org/

香港基督徒學會

旺角道11號藝旺商業大廈10/F

http://www.hkci.org.hk/

香港婦女勞工協會

觀塘翠屏村翠櫻樓地下1-3A 室

http://www.hkwwa.org.hk/

香港專上學生聯會

九龍旺角道 7-9 號威特商業大廈 9 樓

http://www.hkfs.org.hk

香港理工大學
香港九龍紅磡
12/10/2011 Rm. R508


Film
(Synopsis)

Date

Time and Venue

Drifting + Homecoming

  1. Opening Ceremony: 2/10/2011 n

  2. 30/10/2011 a

  1. Rooftop, Social Movement Resource Centre (Autonomous8a) A,d

  2. agnes.b Cinema, Hong Kong Arts Centre d

The Hour of the Furnances

  1. 8/10/2011 a

  2. Closing Ceremony: 27/11/2011 a

  1. Polytechnic University *

  2. Tong 3

End of Civilization

  1. 3/10/2011 n

  2. 20/10/2011 n

  1. Open space near the statue of Goddess of Democracy, Chinese University #

  2. Hong Kong In-media Office

La Commune 1871

  1. 16/10/2011 a

  2. 19/11/2011 a

  1. The Hong Kong Federation of Students (HKFS)Office

  2. Tong 3

Reasons for the Rage

  1. 12/10/2011 n

  2. 26/10/2011 n

  1. Polytechnic University
    Rm. R508

  2. Hong Kong In-media Office

* Please refer to the most updated room number of the screening venues on the SMFF blog.

# In case of adverse weather up to 6PM, the screening session will be held at the Student Acitivity Room (Lower Ground) of the Franklin Benjamin Building, Chinese University of Hong Kong.

A In case of adverse weather, the screening session will be held at Social Movement Resource Centre (Autonomous8A), Flat A, 8/F, Kingland Appartments, 739 Nathan Road, Mong Kok, Kowloon, HK.

a Screening Time – 2:30PM

n Screening Time – 7:30PM

d Director(s) and / or producers will join the discussions after screenings.


Please refer to the SMFF blog for updated news.

Address of Screening Venues:

agnes.b Cinema, Hong Kong Arts Centre
2, Harbour Road, Wan Chai

HKFS Office – The Hong Kong Federation of Students
9/F, Waitex House, 7-9 Mongkok Road, Kowloon, Hong Kong
http://www.hkfs.org.hk

Hong Kong In-media
9/f Foo Tak Bldg, 365 Hennessy Rd, Wan Chai, Hong Kong

http://www.inmediahk.net

Open space near the statue of Goddess of Democracy, Chinese University
Chinese University, Shatin, New Territories, Hong Kong (right next to Exit A of the KCR University Station )

Social Movement Resource Centre (Autonomous8A)
Rooftop, Kingland Appartments, 739 Nathan Road, Mong Kok, Kowloon, HK

http://www.smrc8a.org

Tong 3
2/F, 716 Shanghai Street, Prince Edward, Kowloon (near Bute Street)

The Hong Kong Polytechnic University
Hung Hom, Kowloon, Hong Kong

12/10/2011  Rm. R508