無事常問候


經過三年新冠疫情的日子,封城閉關,斷了社交往來不計,還得天天戴着口罩,學校停課,辦公室移師家居,生活調子全部變了另一個樣。 疫情過後,生活雖然回復以往的常態,但人生觀都跟以前不一樣了,彷彿大病一場後,…

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性公義

日本女記者伊藤詩織執導的紀錄片《黑箱日誌》,是今屆奧斯卡金像獎最佳紀錄片提名之一,本周在香港上映。 那是伊藤詩織以第一身親自調查、紀錄、蒐證和報道,在二○一五年,自己被日本TBS電視台前華盛頓分局局長、於日本政界極具影響力的「安培晉三總理御用記者」山口敬之疑似迷姦的紀錄片。 電影平實地紀錄伊藤詩織耗八年蒐證的過程,這種如實揭露社會陋惡與公義、高牆與雞蛋對抗的真人真事,正是好看之處。牌面看,一個初出道毫無籌碼的二十五歲女記者,獨自控訴和對抗一個在政界和傳媒界有權有勢、隻手遮天的男高層,在日本這個男女仍嚴重不平等的父權社會文化裏,根本毫無勝數,甚至會惹來人身安全的危機。 事實上,伊藤詩織當時站出來指控山口敬之時,遇到的是:一、父母弟妹都想阻止她這樣做;二、負責調查的警員被調離崗位;三、警方以「證據不足」為由,對山口敬之作出不檢控之決定;四、遭民間責罵她「不要臉」、「搏出位」、「妓女」,甚至有日本女性寫信說「以她為恥」。可想而知,伊藤詩織承受着極大壓力,而諷刺的是,她本是受害人,而日本司法界、政界、警界、傳媒及民間輿論,竟無保護受害者,反意圖將她打壓和滅聲。 刑事起訴不了,伊藤詩織再從民事入手。幸好有黑暗,亦會有光明,有腐敗,亦會有公義,兩種力量互相抗衡,不到最後未為輸。民間有律師團隊願幫她打官司,亦有婦女團體力挺她,那夜目睹山口敬之強拉不省人事的伊藤詩織入酒店之的士司機和酒店職員也挺身作證;而最有力的證據,是酒店門口閉路電視拍到的真實情況。至於最後結局如何,這裏先賣個關子,待讀者入電影院找答案。 此片帶出很多關於「性公義」的思考。電影以外,亦反映了日本社會仍未因此事而對「性公義」產生覺醒——此片雖已在多個國際影展和地方公映,卻至今仍無法在日本正式上映。 撰文 : 利嘉敏 欄名 : 攻關女子 Source link

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LABUBU經濟

近年,我一直在等一件事發生:LABUBU幾時在香港出現?指的並非那些放幾隻大型LABUBU在商場給人打卡的活動,而是於香港旅遊業規劃中,把LABUBU發展成「LABUBU經濟」。 有兩點要先拆解:一、為何是LABUBU?二、為何在香港?首先,LABUBU瘋魔全球,無人不曉,巨星如Rihanna、BlackPink的Lisa和Rose都是其超級粉絲。LABUBU亦是推到泡泡瑪特市值達二千二百億港元的主要功臣。而LABUBU盲盒捉到年輕消費者追求好玩、驚喜、反傳統的心理,故其吸金面向的是國際層面。至於為何是香港?因為LABUBU之父是香港人龍家昇(已移居比利時),故在香港發展「LABUBU經濟」,是非常順理成章的事。 如何發展「LABUBU經濟」?例如搞LABUBU主題展覽館(我會叫它做LABUBU House,如家庭般親切),內有不同大小的LABUBU,且有獨家香港系列。又或鑄造全球最高/大的LABUBU模型裝置,放在香港地標供人打卡。又或聯乘香港創科start-up中小企,打造類似Pokémon Go捉精靈的「LABUBU Run/Dance/Hop的VR遊戲,以香港街道、景點為背景,那是向年輕一代(包括本地、內地和國際)最好和最有效去展示香港面貌和文化的方法。動腦筋的話,還有無窮無盡的點子(當然,需要擁有LABUBU肖像的公司授權;那是最容易不過的事,只牽涉雙方對價錢的商議),最緊要是識捉緊這個「LABUBU經濟」的頭啖湯。 一直在等這件事幾時在香港發生,但在還未見一撇的時候,前幾天竟然見到有人洞悉先機,推出LABUBU中國首個主題展,主題為「THE MONSTERS森林秘密基地」,可惜不是在香港,而是在杭州。人家快半拍,變相就是變了我們香港慢半拍。LABUBU同香港那麼有淵源,不知何時捉到鹿才識脫角? 撰文 : 利嘉敏 欄名 : 攻關女子 Source link

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