
The pedagogic burden of cinema on/about/on behalf of children has been a perennial concern, especially in contingent moments when control and discipline become critical 有關香港「細路祥」三篇連載。2020-2021期間,黎肖嫻潛進環繞苦難中的孩子的沈甸甸而充滿矛盾的論述。

因讀書會的推介而細讀波茲曼的《娛樂至死》20週年台灣中譯本的據點作者蔡季妙,深刻檢視了作為自然科學的小學教師的本位,策問:有趣的教學和嚴肅深度的學習真的不可共存?Taiwan-based FP writer and science teacher to children Vanessa Tsai read Neil Postman’s Amusing Ourselves to Death and asked if she must choose between entertainment and serious teaching in order to be effective, or if that is a false binary.
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A follow-up on “[put away] the kid on the street” (2 August 2020), Linda Lai continues to examine how, in an apparently peaceful post-war moment of Hong Kong in May 1950, three local film distributor-exhibitors fought for audiences of movies named to be celebrating the Children’s Day, with very different ethos. 倫敦謀殺案的唯一孩童證人。這不是一般的電影分享或分析,透過跨文本的觀察,試圖理解電影在社會生活世界中與別的範疇可有的種種協作果效。港產《細路祥》(1950)、蘇聯兒童片《以身許國》(1948)、英國電影童星主演的《妒花風雨》(1948),成為太平盛世的香港慶祝兒童節的電影宣傳搶客戰。
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In a series of 3 articles, Linda Lai shares her field notes in film studies from a Cultural Studies perspective. The first discusses the kid A-Chang (1950), a HK counter-part of Shanghai’s Three Hairs 1940s. 有關香港「細路祥」三篇連載的第一篇,黎肖嫻潛進環繞苦難中的孩子的沈甸甸而充滿矛盾的論述。
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一個小時的飛航時間,把香港和台灣分隔成兩個歷史溯源和軌跡有交疊卻體驗不一樣的生活世界。又或者,貌不似而神似?身為小學老師的「據點」海外作者蔡季妙用今天的視野去「重訪」小時候的自己,不期然想起了教科書。Primary school teacher Vanessa Tsai, FP overseas contributor, revisits her young self through the lens of contemporary society: her primary school textbooks and experiences weigh on her massively. How is Hong Kong and Taiwan linked to and set off from one another other than the 1-hour flight that sets them apart?
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In his diary as a curious young teacher, Ryan Chung recounts the many problems he has encountered teaching children on-line during the COVID-19 homestay period. The question shifts: from how to make an interesting video lesson to what fuels the desire to learn. 當上小學老師不久,鍾樹仁遇上了 COVID-19 給他的考驗 — 如何製作好玩而花枝招展的錄像教案應付網上教學?很快,他知道要問的是另一種問題。
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