【Politically Incorrect Products Sold in Hong Kong】
香港戰後七大涉嫌針對弱勢族群法西斯歧視性兼政治不正確之品牌或產品譯名,令大愛包容的我覺得十分憤怒,但卻構成了香港人的集體回憶:
There are so so many politically incorrect, racist, or right-wing local products sold in Hong Kong, which are making me boil with liberal anger.
1, 黑鬼油 - 為什麼 Single Out 非洲族裔?
Hak Gueo Oil - literally meaning "Black Devil Oil", for curing rheumatism.
2, 印度神油 - 不必多言。
Indian Magical Oil - A product that is believed to help erection once applied to a Chinese male's genital organ. The Indian Man is associated with the myth of sexual prowess.
3, 子母奶 - 在同性戀婚姻平權時代,為何「母」一定是女人?
The Baby and the Mother Milk - which clearly denies the right of a gay male mother.
4, 盲公餅 - 香港平機會還容許此餅公開發售,是社工失職,還是平機會的職員才是盲公(或盲婆)?
Mang Kung Cake - meaning The Blind Old Man Cake. The outrageous name has long escaped the blind staff of the Equal Opportunities Commission as well as so many social workers who prefer turning a blind eye to this delicious cake too.
5, 單眼佬涼茶 - 許多粵語長片的彌敦道街景都出現過這副招牌。我飲過,好好味,單眼佬,👁,我撐你!👏
The One-Eyed-Guy Herb Tea - An eye-winking tea indeed. A must for a western tourist.
6, 藍妹啤酒 - 點解不是紅弟啤?
The Blue Girl Beer - A politically incorrect name even allowed in a Germany ruled by a formerly red girl called Mrs Merkel. I am surprised.
7, 老人牌麥片 - 早應改名為「長者牌」了。
Quaker Oats - translated as the "Old Man Brand" in Hong Kong since the days of Queen Victoria. An anachronism still loved by so many babies and kids.
PS: 我喜歡政治不正確。有的蓄意政治不正確的文字笑話,貼出一次,故意再刪除,自然引起更多人散播。不信?It is still somewhere on this channel。以上這個,再次娛樂大眾,或亦不例外。
同時也有10000部Youtube影片,追蹤數超過2,910的網紅コバにゃんチャンネル,也在其Youtube影片中提到,...
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Fabrice Fouillet,
Sony世界大賽2013年職業組建築類第一名,專訪,以及他的個人網站 Project : Corpus Christi
Fabrice Fouillet is a French professional photographer based in Paris. In 2013 he won the Professional Architecture category of the Sony World Photography Awards. After earning a degree in Sociology and Ethnology, he studied Photography at The Gobelins School. Since 2004, he has been collaborating with advertising agencies and magazines focusing on Still Life and Architecture.
His personal photographic research explores the notion of identity and the close relationship between humans and the environment. Recognised for his series on new places of worship and resemblance in the 2013 Sony World Photography Awards Open Architecture category, he has gained recognition internationally.
Hi Fabrice. Tell us more about yourself - When and why did you first approach photography?
I believe my passion for photography comes from my high school studies. With courses about European cinema and art-house movies I became more sensible and passionate about themes and images in a deeper and broader sense. Then, I approached photography with a small and old camera, making basic shoots of things all around me. From my house to garden, flowers, trees, and landscape, everything became my subject and I felt I was very serious about it. At the age of 20 it appeared to me a natural thing to try and make it professionally.
Have your previous studies in sociology and ethnology influenced your investigation of space?
The education you receive at a young age influences the rest of your life and I would say that my studies not only influenced the investigation of space, but the overall way I think about my projects. At beginning, I was focusing more on still life projects while now environment and social identity interest me more and more as in the ‘Colosses’ and ‘Eurasism’ series.
Do you have a photographic philosophy?
Be truthful to your own desires and emotions for each project you make. This is my photographic philosophy as finding your own artistic path is not such an easy thing. To me the best way is to remain faithful to your passions, be inspired but not too influenced. Precision, determination, rigor, and hard work are unavoidable in photography and they also form part of my philosophy.
With your winning series ‘Corpus Christi’, capturing new spaces of worship, architecture became a way to narrate humanity and its relationship with minimalism and aestheticism. Why did you choose this theme?
I have always found a graphic quality in religious imagery and particularly in catholic iconography. As an architecture devourer, this was the starting point for this project urging me to look for evidence, confront the classical with contemporary spaces of worship, and a way to take fascinating pictures. Somehow it called me out. I saw aesthetic mystery beyond the often cold, austere and classical representation with a firm anachronism between traditional iconography and modern architecture. In ‘Corpus Christi’ I wanted to highlight this rupture between classical imagery and modern religious architecture.
You won the 2013 #SWPA Professional Architecture category. Where did this take your photography?
Being a 2013 Sony World Photography Awards winner has been a great career step forward and it helped me to span my work, gaining a lot of visibility, interviews and press coverage in France and worldwide. Thanks to the awards, The New York Times Magazine & other media companies have contacted me for architecture commissions. It was a huge satisfaction and encouraged me continue with the art and subjects I am passionate about.
What would you suggest to young photographers aspiring to make create architectural photography?
To push the button can be easy and fast, but architectural photography - and photography in general, requires strong determination. Firstly, remember that between subjects and projects there’s half of the sea. So think carefully about what and how you want to proceed. Then, be precise and rigorous, chase the light and work the frame of course. Sometimes, wait for the good moment. Try again or come back if necessary. Push the limit and don't give up even if discouragement is knocking at the door.
Talking about your new project ‘World’s Tallest Statues’ you recently stated: “I was intrigued by the human need to build these immense shrines to power”. Could you tell us more about it and how you came across this subject?
Indeed, I have just mentioned the importance of determination and these gigantic statues are the perfect example. They symbolise the strong human desire of remembrance and commemoration directly related to the size of the monument. With this project I wanted to investigate the deepest meaning of both ‘symbol’ and ‘cult of personality’ as I have always been fascinated about how historical heroes, leaders or politicians were celebrated or idealised with monumental structures for the sake of collective remembrance.
Research led me to discover lots of monument or statues dedicated to Lenin, Stalin or Mao but despite their cultural and social meaningfulness they were not that big. As the documentation went on, I unexpectedly came across the picture of a huge white statue located in the middle of Dai Kannon, in Sendai, Japan. Sadly, the picture had no caption so I first thought it was unreal, but when I had the proof of its existence, I immediately felt that these huge statues were what I wanted to talk about.
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But in reply to several discussions, an "anachronism" was refered to when the OP sought to use a 'later' reference to discuss the meaning of an ... ... <看更多>
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Movies are full of anachronisms. But what does this word mean ? Dictionary.com breaks down the definition of this English word! ... <看更多>