Morningside Magazine No08

晨興書院

雜誌

MAGAZINE NO.8 JUNE 2022

FEATURING Formulating the Right Questions: An Interview with Mira Sethi Drifting: A Conversation with Jun Li on Film, Truth, and Community

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CONTENTS

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LETTER FROM THE EDITORIAL BOARD

MC VIEW

Local Impact: Student Reflections on Hong Kong Service Projects 關懷本地社群：參加社會服務項目的經驗分享

FEATURE

Formulating the Right Questions: An Interview with Mira Sethi 建構對的問題： 與「一本書計劃」作家米拉•塞西對話

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Curating a Morningside Exhibition Inspired by the One Book Programme 策劃由「一本書計劃」啟發之晨興藝展

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Drifting: A Conversation with Jun Li on Film, Truth, and Community 濁水漂流：與李駿碩談電影、寫實與街友們

ALUMNI NEWS

晨興書院

雜誌 MAGAZINE NO.8

JUNE 2022

Dear Reader,

親愛的讀者：

In this issue, we share the service experiences of three medical students, a reflection on writing across cultural contexts from the author of our One Book Programme selection, an interview with an award-winning film director and Morningside alumnus, and a showcase of our community’s creativity.

在本期雜誌中，我們分享了三位醫科生的社會服務

This magazine edition is a portrait of this year at Morningside, showcasing the inventiveness, curiosity, and vibrance of our College. We hope these experiences will intrigue and inspire you the way they have us, and we thank you for your continued support.

力、好奇心和活力。希望你們和我們一樣，都能被

體驗、「一本書計劃」的作者對跨文化背景寫作的反 思、得獎電影導演兼晨興校友的採訪，以及展示晨 興人的創造力。 這本雜誌正是今年晨興的寫照，展示了書院的創造 這些經歷所吸引及啟發。感謝各位一直以來的支持。 晨興書院雜誌編輯部

Morningside Magazine Editorial Board

MORNINGSIDE MAGAZINE. Published annually by Morningside College. Editorial Office: Morningside College, The Chinese University of Hong Kong, Shatin, New Territories, Hong Kong.

Tel: +852.3943.1406. Fax: +852.2603.6159.

Publication of material in MORNINGSIDE MAGAZINE does not necessarily indicate endorsement of the author’s viewpoint by the magazine, Morningside College, or The Chinese University of Hong Kong.

MORNINGSIDE MAGAZINE reserves the right to edit and, when necessary, revise all material that it accepts for publication. Unsolicited artwork will be published at the discretion of the editor.

KEEP MORNINGSIDE UP-TO-DATE! Update your contact information, or submit news for the next edition to gemc@cuhk.edu.hk

晨興書院雜誌

由晨興書院每年一度出版。編輯室

地址為香港新界沙田香港中文大學晨興書院。 電話+852.3943.1406

傳真+852.2603.6159

雜誌內刊載的文章內容純屬作者及受訪者的個人意 見，並不代表或反映本雜誌、晨興書院或香港中文 大學的意見及立場。 晨興書院雜誌保留隨時刪減、修改雜誌內容的權利。 編輯部有權決定是否刊登及修改來稿。 讓晨興掌握最新資訊！請透過 gemc@cuhk.edu.hk 更新你的聯絡資料或來稿。

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LOCAL IMPACT: STUDENT REFLECTIONS ON HONG KONG SERVICE PROJECTS 關懷本地社群：參加社會服務項目的經驗分享 Each year, Morningside College students complete hundreds of hours of community service work for the College’s Service Learning and Civic Engagement course. While some students choose to go on collegerun service trips, others elect to design their own service projects by partnering with local non-profit organizations. Alan Yao, Yin Leung, and Nicole Choi are three medical students who completed independent service projects in Hong Kong during Fall 2021. In the following reflections, they share lessons they learned through their engagement with the local community and advice for future Morningside students.

每年，晨興同學都會就書院的通識課程「社區參與 ／服務學習」完成數百小時的社會服務工作。部份 同學會參加由書院舉辦的服務團，部份則會選擇與 非牟利機構合作自行設計服務項目。2021 年秋季， 三位醫科生姚伊行、梁言和蔡佩霖在本港分別完成 了社會服務項目。以下他們將會為大家分享這次參 與社會服務的經歷和得著，以及對其他晨興同學的 一些建議。

Creating LGBT-inclusive Sexual Education

By Nicole Choi

創造 LGBT 共融的性教育 蔡佩霖

In the summer of 2021, I did an 8-week internship with Mother’s Choice for my GEMC3001 service project. While they mainly serve women going through crisis pregnancies and children without homes, Mother’s Choice also conducts comprehensive sexuality education (CSE) workshops at local schools. I had applied for the internship because I was especially interested in how Mother’s Choice taught CSE, since I experienced abstinence-only sex-ed in school. Landing a spot with the CSE team at the Youth Services department, my wishes had come true.

To my surprise, I was tasked with a completely new project: devise an LGBT-inclusive CSE workshop lesson plan.

It was challenging and fruitful to work on this project for a variety of reasons. For one, my knowledge of the LGBT community came mostly from Western media, and I was unfamiliar with the local LGBT community, especially the preferred terms for different sexual orientations and gender identities. To solve this issue, I attended a talk hosted by Midnight Blue, an NGO serving male sex workers, during which I learned a lot of background information that was key to the development of the LGBTinclusive lesson plan.

2021 年夏天，我在「母親的抉擇」完成了為期 8 星 期的實習，作為 GEMC3001 的服務項目。「母親的 抉擇」的主要服務對象是意外懷孕的女性和缺乏家 庭照顧的兒童，他們也會在學校舉辦全面性教育 （CSE）工作坊。由於過去我在學校所接觸的就只有 禁慾式性教育，所以我決定申請到這個機構實習， 因為我對他們如何教授 CSE 特別感興趣。最終我成 功在青年服務部的 CSE 團隊找到實習機會，但我意 想不到的是，我所獲派的任務是一個全新的項目： 設計 LGBT共融的 CSE工作坊教學內容。 這個項目既富挑戰性又令我獲益良多，我本來對 LGBT 社群的了解主要是來自西方媒體，對本地的 LGBT 社群反而不熟悉，尤其不認識對各種性取向和 性別認同的正確形容。為了解決這個問題，我參加 了一個為男性性工作者服務的非政府組織「午夜藍」 所主持的講座，讓我獲得了很多背景知識，對我設 計 LGBT的教學內容很有幫助。

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Within the GEMC3001 course, we watched some documentaries that helped us engage more critically with our service projects, including ‘H.O.P.E. Was Here’, a documentary about student volunteers from Boston going to Peru for a service trip. What struck me the most was that the students partaking in voluntourism were largely unprepared for the trip, from knowledge about the communities they were serving, to the language spoken in the target community. I learned early on in the course that it was important to understand the needs of the community being serviced, or else we volunteers would do more harm than good.

This became my guiding philosophy during my service project, and this mindset helped me develop a lesson plan that was both informative and insightful, deepening students’ understanding of the community while keeping the classroom atmosphere respectful.

To Morningsiders who plan to take GEMC3001 in the future: open up your hearts and learn about your service targets before starting your service project and learn from the people you meet. Hopefully, you’ll have a stellar experience like I did, and form lifelong connections. Most importantly, don’t forget to have fun!

在 GEMC3001 課程中，我們會觀看一些紀錄片， 這些紀錄片的目的是幫助我們更投入參與服務項 目。其中，有一部關於波士頓學生參加秘魯義工團 之旅的紀錄片《希望在這裡》，當中最令我印象深 刻的是，這些學生基本上完全沒有為這次旅程做 好準備，他們沒有事先去了解服務對象和其語言。 我在課程開始不久便意識到掌握服務對象的需要非 常重要，否則義工服務只會弊大於利。這個信念成 為了我在整個服務項目的方向，讓我可以編制出一 套既富資訊又有見解的教學內容，加深學生對性小 眾社群的了解，同時保持課堂氣氛尊重。 致未來計劃讀 GEMC3001 的晨興人：在開始你的 社會服務項目之前，要敞開心扉去了解你的服務對 象，並向其他人學習。希望你能像我一樣擁有精彩 的體驗，建立終生的友誼。最重要的是，別忘了要 享受過程！

Nicole Choi (left) with her Mother’s Choice supervisor (centre) and fellow intern (right). 蔡佩霖（左） 與其在母親的抉擇的主管（中） 及另一實習生（右） 。

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Bridging Gaps: Elderly Care during Covid-19

By Alan Yao and Yin Leung

拉近距離：疫情期間的長者服務 姚伊行及梁言

We had the wonderful opportunity of working with the Hong Kong Family Welfare Society on their Family-based Dementia Assessment and Support Project, where we served elderly people showing early signs and symptoms of dementia in the local community. What stood out to us about this service organization was their incredibly down-to-earth style of operation, demonstrated by the fact that all their service centers are at the heart of public housing estates, bridging the gap between service providers and service targets. Another unique aspect is their emphasis on family unity, not only serving the elderly individuals with dementia, but also offering support to their family members, allowing the family as a whole to thrive.

我們很高興有機會參加「香港家庭福利會」的「長者

During our service project, we were given a first-hand glimpse into the lives of elderly people with dementia. We participated in dementia assessment services via home visits, utilizing cognitive tests to screen for potential cases and referring them to professional healthcare services if needed. We would also do simple hand and stretching exercises with the elderly to improve their hand-eye coordination and physical wellbeing.

One thing that we found surprising was the sort of activities that play a role in decelerating the deterioration of dementia. We imagined that it would require sophisticated medical equipment or complicated cognitive training tools. Yet, simple games and activities are all it takes.

Playing Jenga, figuring out Tangram puzzles and writing calligraphy all stimulate their brain function and rejuvenate their cognitive abilities.

用認知測試篩查潛在病例，並在有需要時將患者轉

We carried out our service project against the backdrop of the COVID-19 pandemic, which presented unique challenges and offered insights that we would not have gleaned otherwise. One of the most memorable interactions we had was during our very first regular home visit to an elderly couple. When they greeted us at the door, we quickly noticed that they had forgotten to wear their face masks. After we reminded them, they obediently donned masks, but they put them on backwards or inside out. Elderly people with dementia get confused easily and are not able to adjust quickly to new situations. Thus, the COVID-19 pandemic has wreaked havoc on their daily routines and imposed additional stress onto their lives. Their inability to properly protect themselves from the virus makes them particularly vulnerable during this turbulent period.

This made us reflect on how the pandemic has impacted various groups in society and cemented our decision to help out as much as possible.

Our biggest takeaway is also courtesy of the COVID-19 pandemic to some degree. Without the pandemic, we would most likely have gone overseas to volunteer, paying little attention to those in need around us in our local community. We often dream of changing the world through acts of great philanthropy, but that all starts with small acts of service, 5

家居照顧及支援服務」，關懷社區中出現早期認知 障礙徵狀的長者。這間機構最讓我們印象深刻的地 方，是他們非常貼地的運作模式，將所有服務中心 設立在公共屋邨內，拉近服務提供者與服務對象之 間的距離。另一個特色是他們以家庭為單位，不單 為有認知障礙的長者服務，還為他們的家人提供支 援，讓整個家庭能夠互相扶持。 在這項服務中，我們親眼目睹了認知障礙長者的生 活情況。我們透過家訪提供認知障礙評估服務，利 介至專業醫療保健服務。我們亦會與長者一起做簡 單的手部和伸展運動，以改善他們的手眼協調和身 體健康。我們原以為要用到一些專業的醫療設備或 複雜的認知訓練工具，卻發現原來簡單的運動和遊 戲，對緩減認知障礙已有幫助。即使是玩積木、砌 七巧板和寫書法，都可以刺激長者的大腦功能，恢 復他們的認知能力。 我們在疫情期間提供這類服務，縱然要面對特殊的 挑戰，但亦為我們帶來另一番見解。其中一次最難 忘的經歷，是我們首次到一對長者家中做定期家 訪。當他們在門口迎接我們時，我們很快發現他 們忘了戴口罩。我們稍為提醒，他們就乖乖去戴口 罩，不過都是上下正反倒轉的。因為患有認知障礙 的長者很容易感到困惑，亦無法迅速適應新情況， 疫情對他們日常生活的影響可想而知，亦為他們增 添了不少壓力。他們無法在疫情中妥善保護自己， 難免更易受到病毒感染。這次經歷令我們反思疫情 如何影響社會的各個階層，加強了我們服務巿民的 決心。 在某程度來說，我們最大的得著，其實是來自疫 情。如果沒有疫情，我們很可能會去外國做義工， 很少會關注到本地社區有需要的人。我們常常夢想 要做偉大的慈善事業來改變世界，但其實一切都是 由幫助自己社區的一小步開始。我們比想像中更有 能力幫助別人，有時候一個微小的行動，也可以令 別人開心。有研究顯示，儘管認知障礙患者難以創

Alan Yao (bottom right) and Yin Leung (bottom, second from right) with project participants and colleagues. 姚伊行（下排右一） 及梁言（下排右二） 與計劃其他參加者及同事。

such as helping out in our own neighbourhoods. We are more capable of helping others than we think and our minuscule actions could make someone’s day. Research suggests that although dementia patients have difficulty creating and retrieving memories, they still feel the emotions induced. When we play and spend time with them, they still feel happy without remembering why. To be able to create permanent emotions for someone who might not even remember your face is something strangely beautiful, and this is why we will forever cherish this experience.

造和回想記憶，但他們仍然能感受到當中的情感。

Our advice to future Morningsiders would be to take on a service project that genuinely interests you. Being passionate about the service targets or the social issue at large would greatly aid your learning journey, otherwise, the 40 hours of volunteer work would feel like a real chore!

Read up on different service organizations to determine which kind of operation mode or service role suits you better. Above all, remember to enjoy this experience!

義工服務便會成為一件苦差！另外，要先了解不同

當我們陪長者一起玩遊戲時，他們可能不明所以， 但仍然會感到高興。能夠為一個甚至可能記不起你 樣子的人去創造美好的情感，是一件很美麗的事， 所以我們很珍惜這次體驗。 我們對未來晨興人的建議是，去做你真正感興趣的 社會服務。如果你的社會服務對象或問題是你所感 興趣的，學習過程自然事半功倍，否則，40 小時的 服務機構，再決定哪種運作模式或服務更適合你。 最重要的是，要享受當中的體驗！

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FORMULATING THE RIGHT QUESTIONS:

AN INTERVIEW WITH MIRA SETHI

By Maryellen Stohlman-Vanderveen

建構對的問題

與「一本書計劃」作者米拉．塞西對話 范美侖

Mira Sethi is the author of this year’s One Book Programme selection Are You Enjoying?, a collection of short stories featuring snapshots of life in Pakistan. Sethi is also an actress, having starred in many television projects including the Pakistani dramas Mohaba Subh Ka Sitara Hai, Dil Banjaara, and Chupke Chupke. This year, Morningside students had the opportunity to interact with Sethi’s work in a variety of modes. First year students read two selections from Are You Enjoying? – part one and two of “A Life of its Own” – for the college’s General Education course “Current Dilemmas and their Histories”. In the spring, Sethi served as judge to the annual College Photography Competition. Students were also invited to engage with the concept of portraiture presented in the book through a student art exhibit, Not Just a Selfie: Inquiries of the Present, which took place in February and March.

書院「一本書計劃」年度讀物《你喜歡嗎？》是以巴基斯坦生活 為背景的短篇小說系列，作者米拉．塞西原來亦是當地的知名 女演員，曾主演的電視劇集包括《愛情是早晨的星星》、《流浪 的心》及《偷偷地偷偷地》等。今年，晨興同學有機會與這位多 才多藝的作家多方面互動，包括一年級同學會在通識教育課程 「當今困境及其歷史背景」中，閱讀《你喜歡嗎？》系列《自己 的生活》的第一、二節；塞西還將於春季擔任書院年度攝影比 賽的評判。而在今年二至三月舉行的學生藝術展「超越自拍： 對當下的探究」，大家亦運用了書中肖像畫的概念，以嶄新角 度探索展覽內容。

用講故事來建立橋樑 塞西在《你喜歡嗎？》描述的故事，揭示了巴基斯坦不為外人 知的一面。題材包括一個年青女演員擔演肥皂劇出道後，如何 在演藝事業上排除萬難；一個激進的伊斯蘭學生如何在姊妹婚

Bridge Making through Narratives

禮之前，面對吸毒的父親；而《男人婆》故事則探討兩個沒有

Sethi’s narratives in Are You Enjoying? offer a glimpse of Pakistani life that outsiders do not often see. Topics range from a young actress who must navigate the trials of show business after getting her first soap opera role, to a radicalized Islamic student struggling with his father’s drug addiction and his sister’s soon-to-be marriage. Her story “Tomboy” explores the struggles of two childhood friends, both closeted and queer, who marry one another to maintain the appearance of heterosexuality. In writing about these characters, Sethi challenges traditional narratives to make the unknown side of Pakistan known to an international audience.

假像。作者透過描繪這些人物角色，來扭轉外界對巴基斯坦的

“The two most famous Pakistani women are Benazir Bhutto, who was assassinated by the Taliban, and Malala, who was shot in the face by the Taliban,” Sethi explained. “Those are the types of narratives that you hear about Pakistan. You almost never hear about queer people living closeted lives.

These characters exist in the shadows, and the idea of writing about them is to bring them out of the shadows.”

Sethi admits that bringing these types of stories to light is difficult due to the prevalence of censorship in Pakistan.

While her book has not yet faced backlash or reprisal from the 7

出櫃的同性戀兒時密友，如何藉由與對方結婚來製造異性戀的 傳統敍述，將當地鮮為人知的一面面向世界。 「巴基斯坦最知名的兩個女人，一個是被塔利班刺殺的前總理 班娜姬布托，另一個是被塔利班槍傷臉部的馬拉拉。」塞西解 釋道：「這些都是人們經常聽到關於巴基斯坦的敍述。但對同 性戀者如何躲在衣櫃裡生活，大家都幾乎聞所未聞。這些人物 其實在陰影中默默存在，我想將他們寫出來，讓他們走出陰 影。」 然而，塞西承認，由於巴基斯坦審查制度盛行，要將這類故事 帶到陽光之下難度甚高。她的書暫未受到宗教人士的抨擊或報 復，相信是與她以英文寫作有關，而以英文寫巴基斯坦的生活 文化，本身亦有一定難度。 塞西解釋，為西方讀者撰寫非西方文化，通常受限於語言。 「作為一個非西方作家，你必須在寫作生涯開始就問自己：最 重要的是甚麼？我想建立一道橋樑嗎？我想接通西方嗎？ 我 當然想，所以克諾夫出版社和布林斯貝利出版社都曾為我出 版。然而，我不想犧牲角色的特質、主觀性和真實性，來建立 這道橋樑。」

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religious right, Sethi believes that this is because the book is written in English. However, writing about Pakistani life in English comes with its own set of challenges.

Sethi explains that the difficulties of writing about nonwestern culture for a Western audience often come down to language. “As a non-western writer, you have to ask yourself a question early on in your career, which is above all, do I want to be a bridge maker? Do I want to be accessible to the West? Having been published by Knopf and by Bloomsbury, I can't say I don't. However, I never want to be a bridge maker at the expense of the idiosyncrasy and subjectivity and authenticity of my characters.”

Presenting an authentic view of Pakistani culture in Are You Enjoying? required including a mix of Urdu and English in her character’s dialogue. This proved challenging at times for Sethi, who is multilingual. Having graduated from Wellesley College in Massachusetts after spending her junior year at Oxford, Sethi often feels that English is the language which houses her intellect, while her heart expresses itself in Urdu.

“I think dialogue is where I struggle a lot, because we often speak in a mishmash of Urdu and English. I certainly speak in both – Urdu and English when I'm talking to my friends, my husband, or my parents and converting that sensibility correctly in writing is hard.”

Western readers sometimes struggle to grasp what Sethi is trying to accomplish through her characters’ dialogue.

However, it is important to her to present a realistic picture of how her characters would speak. “A lot of the criticism of this book has been that the dialogue feels clunky,” she explained. “However, it feels clunky because I'm bringing a certain sensibility to the reader.”

Sethi at the 2022 Lahore Literary Festival. 塞西參與 2022拉合爾文學節。

為了在書中真實呈現巴基斯坦的文化，故事角色之間的對話都是 烏都語和英語夾雜，這樣對於能操多個語言的塞西仍然有點難 度。塞西在牛津完成大學三年級後在麻省的威爾斯利學院畢業。 她常常覺得英語是盛載知識的語言，而自己的心聲卻是烏都語。 「人物對話是我常常掙扎的地方，因為我們經常是烏都語和英語 夾雜使用的。雖然我兩種語言都懂，與朋友、丈夫和父母談話 時，兩種語言都會用到，但當要正確換成符合情感的文字時，就

Sethi drew attention to the power asymmetry that exists when non-Western writers try to write about their own cultures for Western audiences; “You will never find the following sentence in an English language novel: Mira reached for the donut, a deep-fried, ring-shaped dessert.

This is because the world has been imbibing Western culture all our lives. We know what donuts are, so nobody will ever explain what a donut is. However, you may find the following sentence in a South Asian novel: Mira reached for the gulab jamun, a deep-fried milk curd dessert. There’s an asymmetry of power there. The West has exported its culture, partially through colonization, for hundreds of years.

And so, at a fundamental level, the challenge in writing in English for the world always comes down to language, because so many of the things we take for granted the West doesn't know about. It's really challenging, because you're bringing culture to an audience that doesn't necessarily know about it.”

是一個難題。」

Even the title of the collection acts as a nod to the convergence of Urdu and English in Pakistani culture and the book itself. “Are You Enjoying?” is a colloquialism in South Asia.

甚至就連作品的標題《你喜歡嗎？》其實也帶出了巴基斯坦文化和

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西方讀者有時很難理解塞西到底試圖透過人物對話來表達甚麼。 不過，對她來說，真實呈現角色如何對話非常重要。「很多人批 評這本書的對話很笨拙，不過，這正正就是我想帶給讀者的感 覺。」她解釋道。 當非西方作家試圖為西方讀者引述他們自己的文化時，往往有一 種權力不對稱存在，而塞西就是想大家留意到這一點。「你永遠 不會在英文小說中看到『米拉伸手去拿甜甜圈，這是一種油炸的 環形甜點。』這是因為我們自小吸收西方文化，當然知道甜甜圈 是甚麼，沒有人會多作解釋。不過，你很可能會在一本南亞小說 看到『米拉伸手去拿玫瑰果，這是一種經油炸的奶粉酥油甜點。』 這就是權力不對稱。數百年來，西方不斷通過殖民等方式輸出文 化。從根本上說，用英語向全球讀者寫作的挑戰，從來都是語 言，因為許多我們認為理所當然的事情，西方讀者卻聞所未聞。 要將文化帶給不一定認識它的受眾，真的很有挑戰性。」

作品本身雙語夾雜的特色，因為這就是南亞慣用的說法。

“We don't say things like, ‘Hey, did you enjoy the dinner party?’ or ‘Did you enjoy the burger?’ We just say, ‘Did you enjoy?’ ‘Are you enjoying?’”

Sethi explained. “This was a way again to give focus to the way in which we speak and to bring that colloquialism to the world.”

「我們不會說『您享受夜晚的派對嗎？』又或『您喜 歡這漢堡包嗎？』我們只會說『你喜歡嗎？』這正正 就是將焦點放在我們說話的方式，並將這種融合文 化帶到全世界。」

Activism and Art

行動主義與藝術

While Mira aims to use her writing to bring attention to the sorts of narratives that often go unnoticed, she believes her work as an activist is parallel to her work as an artist. She participates annually in the Aurat March, which is held in cities across Pakistan and calls for greater accountability for violence against women. She has spoken out about the portrayal of female characters in South Asian media and has written about Pakistan’s political challenges for The Wall Street Journal.

正因為某些故事經常被忽視，塞西的目標是用她的

Sethi does not believe that good art has to set out to solve problems in the world. Rather, good art should seek to formulate the right sorts of questions for its audience. This is something she has tried to accomplish in Are You Enjoying?.

“In this book, I tried to introduce questions like “how are people living in the shadows? How are people improvising identities as they go along?

How are people living and loving? Why is desire radical in the context of Pakistan? Why is women's desire radical?” Sethi said. “I also wanted to convey a sense of solidarity; when you have a surveillance state, when you are being surveilled by your aunts and uncles, the State, and your friends and universities, can you be yourself? How do you live between and around the rules?”

Sethi admits that her political beliefs inadvertently come across in her writing. However, she discourages readers from trying to draw too close of a connection between her life and the lives of her characters. As a celebrity in Pakistan, many have asked her whether parts of her book were inspired by her career or family life, but Sethi does not believe that such questions are necessarily helpful to literary analysis.

Some readers have hypothesized that the character Zareena Bokhari in “A Life of Its Own” was inspired by Sethi’s mother, an elected member of Parliament in the Punjab province of Pakistan. However, Sethi says that while she always keeps her eyes and ears open, her plots are entirely constructed.

Balancing Writing and Acting Sethi came to acting in her early twenties. She was working as a book editor at The Wall Street Journal when she realized that she did not want to climb the ladder of editorships. Just a month after quitting her job and moving back to Pakistan, she was fortunate to sign her first acting contract on the serial drama Silvatein following many auditions.

However, Sethi found that she could not leave writing behind. “I don't think I could ever do one thing,” she said. “I derive so much intellectual fulfillment from being a writer, and I learn so much from being an actor.

I learn about vulnerability, I learn to cede control, and I learn to connect with people by being an actor.”

For Sethi, writing and acting each represent a unique means of sharing narratives, although each art form comes with its own challenges.

Filmmaking is a collaborative effort, in which the actor becomes the vessel for presenting the story.

作品來引起人們關注。她相信她作為社運份子及藝 術家的身份是可以共存的。她每年都會參加在巴基 斯坦多個城市舉行的奧拉特遊行，要求嚴懲暴力侵 害婦女的行為。她曾公開批評南亞媒體對女性角色 的描述，並為《華爾街日報》撰寫有關巴基斯坦政治 挑戰的文章。 塞西不相信好的藝術是用來解決世界上的問題的， 相反，好的藝術應該為觀眾提出合適的問題，這正 是她在《你喜歡嗎？》中試圖做到的事情。 「在這本書中，我試圖引入一些問題──人們如何活 在陰影之中？如何在經歷中即興創作身份？如何生 活和愛？為甚麼慾望在巴基斯坦被視為激進？為甚 麼女性的慾望是激進？」塞西表示：「我還想傳達一 種團結的感覺。當你處於被監視狀態時，當你被你 的叔叔阿姨、國家、朋友和大學監視時，你能做你 自己嗎？你如何在規條之中過活？」 塞西承認，她的政治信仰會不經意出現在她的寫作 中。然而，她並不鼓勵讀者將她與書中的角色緊密 聯想在一起。作為巴基斯坦名人，許多人問過她， 她書中的內容是否受到她的職業或家庭所啟發，不 過塞西認為這些問題對於文學分析根本毫無意義。 甚 至 有 些 讀 者 推 測 ， 在《 自 己 的 生 活 》中 ， 角 色 Zareena Bokhari 的原型其實就是塞西的母親（她是 巴基斯坦旁遮普省的一名當選議員）。然而，塞西表 示雖然她總是廣納百川地取材，但故事情節全都是 虛構的。

寫作與演戲的平衡 塞西 20 出頭就開始演戲。起初她在《華爾街日報》擔 任圖書編輯，後來意識到自己不想再爬上編輯的事 業階梯，於是辭工回到巴基斯坦，經過多次試鏡， 才一個月就幸運地獲得第一套連續劇《Silvatein》的 演出機會。 之後，塞西卻發現她無法完全將寫作拋諸腦後。「我 不認為我只能做一件事。」她說：「作為一個作家， 我獲得了知性上的滿足，而作為一個演員，我學到 很多東西。我學懂甚麼是脆弱，學會放棄去控制， 學會以演員的身份與人聯繫。」 對於塞西來說，每種藝術形式都有自己的挑戰，而 寫作和演戲，各自代表著一種獨特的分享敘事方

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Sethi (bottom, second from right) with fellow PARISTAN cast members. 塞西（下排右二） 與《PARISTAN》同劇演員。

“One has a lot of help when you are filmmaking. You have a makeup artist, you have a director, and you have costars. More importantly, you have an editor who, at the end of the day, then edits the narratives.

You have a lot of people pitching in to make the narrative whole and interesting.”

In contrast, writing is a largely independent venture. It is up to the author to bring the narrative to life.

“When I’m writing, I am entirely alone until a very late stage when my editor comes in. It is also much harder, because visual narratives give you so much without you having to do any of the work. When I’m writing, I have to create everything. I have to create Jack and Jill, or Jamil and Jamila. Then I have to put them in a house. Then I have to throw problems at them, and then I, as the author, have to solve those problems for them.”

Sethi admits that writing is a challenge, but one in which she finds enjoyment. She thinks that one of the reasons we are living in the golden age of television is because television makes consuming a narrative easy for the audience.

“Television is fun and quick. It moves and you don’t have to do any of the work. But when you commit to reading a book, you also have to commit to doing a lot of the work intellectually and emotionally. You read a sentence, and you have to process. When I write, I often don’t know where I’ll go. I’ll go down these rabbit holes and then I’ll have to extract myself from a particularly thorny situation, because the narrative isn’t going anywhere. And then I’ll have to start again.”

This style of writing presents a challenge for Sethi. She acknowledges that every author struggles with something different, but because she rarely outlines her stories in advance, she has had to become comfortable with uncertainty. This requires not only patience, but faith in herself.

“To be a writer, you have to have a lot of patience to see a book through.

You have to be okay with uncertainty. When you’re struggling, put your writing away and come back to it. I often say that going away from my work actually breeds a certain fertile forgetfulness. I still think about the work when I’m not actively engaging with it, and I have to trust in myself to tie up loose ends.”

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式。拍攝工作講求合作，而演員就是呈現故事的容 器。 「拍攝時，許多人會幫你，化妝師、導演、合作演 員。更重要的，是剪接師會在最後剪接整個故事。 很多人都會參與其中，讓故事變得完整有趣。」 相比之下，寫作很大程度上是獨立的工作，只有作 者能夠令故事栩栩如生。 「當我寫作時，就只有我一個人，直到差不多最後的 階段，我的編輯才會加入。寫作無疑是更困難的， 因為用影像敘事能呈現很多細節，一個人要做的不 太多。但換了是寫作，我就必須創造一切。我要創 造 Jack 和 Jill，又或者 Jamil 和 Jamila，然後我要把 他們放在屋裡，之後我要向他們拋出問題，最後， 作為作者，我還要為他們解決這些問題。」 塞西認為寫作是一項挑戰，但她樂在其中。她認為 我們活在電視的黃金時代，其中一個原因是電視讓 觀眾更容易消化故事。 「電視節奏快又有趣，畫面會自己動，你就坐著看。 閱讀就不同了，當你開始閱讀，你在智力和情感上 都要花許多功夫。你每讀一個句子，都要去理解消 化。當我寫作時，我通常不知道故事會怎樣發展。 我常常跳進了兔子洞，然後又不得不從棘手的情況 中解脫出來，故事要是進入了死胡同，就不得不重 新開始。」 這種寫作風格為塞西帶來不少挑戰。她認為每個作 者都有自己的難題要面對，而她由於很少事前寫好 故事大綱，她就要習慣種種不確定性，當中不僅講 求耐性，還要保持信念。 「要成為一個作家，你必須有很大的耐性去完成一 本書。你必須接受種種不確定性。當你在苦苦掙扎

“The West has exported its culture, partially through colonization, for hundreds of years. And so, at a fundamental level, the challenge in writing in English for the world always comes down to language, because so many of the things we take for granted the West doesn't know about.” 「數百年來，西方不斷通過殖民等方式輸出文化。從根本上說，用英語向全球讀者寫 作的挑戰，從來都是語言，因為許多我們認為理所當然的事情，西方讀者卻聞所未 聞。要將文化帶給不一定認識它的受眾，真的很有挑戰性。」

Sethi believes that it is important for artists to take time to breed this fertile forgetfulness, by being with themselves and processing their experiences, even if this often is not easy. “I think so much of art comes from one’s own intensely subjective perspective of the world, and one’s take on the world. You have to be okay with the idea of being by yourself.”

Sethi hopes that through Morningside College’s One Book Programme, her stories have exposed students to narratives that they otherwise would not have encountered.

“Being a woman in South Asia and having students in Hong Kong read my work is so meaningful to me,” she said. “Cheryl Strayed, who wrote the book Wild said that when you know someone’s story, they refuse to be unknown to you. I hope that with Are You Enjoying? students have glimpsed a side of Pakistan that they otherwise wouldn’t have. I’m very grateful to Morningside for bringing my work to Hong Kong and to students who are studying at Morningside.”

時，可以先把寫作擱在一邊，之後再回來。我常常 說，淡忘可以是一種養分，而且即使暫時將那個故 事放下，也不代表我完全不去想它，我必須相信自 己最終能夠把故事完成。」 塞西認為藝術家花時間培養淡忘作為養分非常重 要，他們需要和自己相處和消化自己的經歷，儘管 這通常並不容易。「我認為很多藝術作品都是源自作 者對世界的強烈主觀觀點，你必須孑然面對眾人， 學會遺世獨立。」 塞西希望透過晨興書院的「一本書計劃」，令她的故 事可以讓學生接觸到他們原本不會遇上的故事。 「作為一個南亞女性，能有香港的學生閱讀我的作 品，對我來說非常有意義。」她說：「 《走出荒野》一 書的作者謝麗爾·斯特雷德曾說過，當你知道某人 的故事時，他們就無法拒絕為你所知。我希望《你喜 歡嗎？》能讓學生瞥見他們本來不會接觸到的巴基斯 坦另一面。我非常感謝晨興書院將我的作品帶到香 港和介紹給書院的學生。」

Sethi stars in a new Pakistani drama comedy titled PARISTAN. She also has a new book project in the works. For updates on Mira Sethi and her work, follow her on Instagram @mira.sethi or on Twitter @sethimirajee.

塞西現時在巴基斯坦拍攝一部名為《PARISTAN》的新喜劇，她亦正寫作另一部作品。有關塞西和她作品的最新消息，請關注 Instagram @mira. sethi或Twitter @sethimirajee。

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SPACE

NOT JUST A SELFIE: INQUIRIES OF THE PRESENT 超越自拍：對當下的探究 18 February - 14 March 2022 2022年2月18日 - 3月14日 Featuring

參展人

Amira Belli Joyce Chung

鍾宛彤

Serag Heiba Emily Hui

許穎琳

Inigo Satria Goran Shiao

邵柏均

Jane Tang

唐許禎

Lalla Ward Jonathan Wong 黃樂恒

CURATING A MORNINGSIDE EXHIBITION INSPIRED BY THE ONE BOOK PROGRAMME

By Juliet Levesque

策劃由「一本書計劃」啟發之晨興藝展 李慧姿

For nearly one month, the Morningside College Café was transformed into a gallery space. For the first time, a collection of Morningside students’ artwork was showcased for our community to see.

早前晨興書院咖啡閣差不多整個月都變身成為了一

The concept for this exhibition, Not Just a Selfie: Inquiries of the Present, came to be with influence from this year’s One Book programme selection, Mira Sethi’s Are You Enjoying?. I was inspired by her short stories that inquire into personhood and contemporary life in Pakistani society. Her work left me wondering how else we might be able to take elements of ourselves and the present time and turn them into evergreen keepsakes. One way we do this, some of us on a daily basis, is through selfies. With the press of a button, we can freeze a moment in time to be used for sharing or personal reflection later on. Refusing to believe that smartphones stand as the only tools for recording our own histories, I sought out answers from our Morningsiders.

究」，靈感來自書院「一本書計劃」年度讀物、米

We have long celebrated the diverse ways that our students share pieces of themselves. This takes place on a regular basis in the classroom, in the dining hall, and in hostel common areas. This time, I wanted to call on them to share how they use art specifically to explore identity and temporality. In my short time at Morningside, I have learned to expect the unexpected, which rang true when I opened a call for entries to this exhibition. Students responded with the fruits of their various electronic gadgets, knitting needles, and paintbrushes.

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個藝術空間，首次向大家展出晨興同學的藝術作品。 這次展覽活動的主題是「超越自拍：對當下的探 拉·塞西著的《你喜歡嗎？》。塞西在短篇小說所 描繪的巴基斯坦社會人格和現代生活，令我深受啟 發。她的作品讓我思考到，究竟我們如何能夠將自 己和當下的精神面貌，變成永恆不變的收藏品呢？ 顯然，其中一個方法，亦即是有些人每日都在做 的，就是自拍。只需按一下屏幕，我們就可以將一 個瞬間定格，留待日後分享或反思。難道智能手機 就是記錄個人歷史的唯一工具？我決定向晨興人尋 找答案。 我們一直鼓勵同學用各種各樣的方式來展現自己， 所以在課室、飯堂和宿舍的共享空間都有定期做展 覽。這次，我邀請了同學分享一下他們是如何運用 藝術來探索身份和時間。我在晨興的日子雖短，但 出乎意料是平常事，這次當我開始徵集作品時，同 學們再次超越我的想像，除了有各種數碼作品，還 有針織品和畫作。

For computer science student Amira Belli, her camera has been a tool for investigating and recording her gaze on Hong Kong. The Tunisian artist has held an interest in landscape photography since the age of 17.

When she came to Hong Kong, her focus adjusted to urban spaces. As an international member of the community, her work shows a side that “no one is paying attention to. Everyone knows IFC and The Peninsula, but they probably can’t recognize the fixtures [she uses] as frames.”

計算機科學學生 Amira Belli 用鏡頭去探索和記錄 她對香港的印象。這位來自突尼西亞的年青藝術家 17 歲起就對風景攝影充滿興趣。當她來到香港後， 就轉為拍攝城巿景像。作為書院的國際學生，她的 作品讓人窺探香港「沒有人在看的風景」，大家對國 際金融中心和半島酒店耳熟能詳，但可能看不出這 些建築如何成為了她作品中的相框。

Belli 很擅長用創新的角度來捕捉影 Belli is committed to taking photos from 像，拍攝景物時，周遭的自然景 innovative angles using a variety of In the middle of the noise, surrounding structures — both 物和建築物都會變成她的相 remember to stop and look around. natural and manmade to frame Things change and remain unnoticed in 框，為平常的景物帶來新鮮 her iconic subjects. In doing so, the dark. The present is brief and calm. It's not 的視角，鼓勵大家停下來看 she inspires a freshness that remembered as much as the past or dreamt of as 看身邊的事物，即使是我 encourages us to stop and stare much as the future. So, take a deep breath and look 們日復日經過的地方。她 at what surrounds us, even in around, live the moment, and break free from the time 的許多作品都沒有拍攝到 the places that we frequent machine slavery. 人，原來是一個刻意的安 each day. Many of her pieces do 當 你 身 處 鬧 巿 中 ， 別 忘 了 停 下 來 看 看 周 圍 。 事 物 正 在 排，因為這樣「相片看來 not include people as subjects, 黑暗中無聲無色地轉變。當下是短暫而平靜的，它沒 平靜卻在吶喊，能將情感 which is a deliberate choice as 有像過去般被憶記，也沒有像未來般被想像。所以， “it makes the picture calm but 表達出來。」 louder in conveying the emotional 深呼吸，環顧周圍，活在當下，擺脫時間機器的 message.” 奴役。 Amira Belli

Belli, Amira. Hasta el cielo. 2021. Digital photography.

Amira Belli，《與天比高》 ，2021，數碼照片。

Belli, Amira. Looping wonder. 2021. Digital photography.

Amira Belli，《奇妙循環》 ，2021，數碼照片。

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The candid nature of the student-artists in sharing their artistic motivations informed the personal yet relatable qualities of this show. As a curator, I am grateful for such candour. These qualities were especially present in the installation of Jane Tang’s ‘Productive Procrastination’.

Tang is self-described as hyper fixated on knitting and crocheting, which they picked up while living alone at Morningside during the COVID pandemic. They consider these projects to be 'productive' coping mechanisms for stress as they serve as a means for self-expression.

In their series of coasters, plus a ‘wug’, Tang tells a story with each piece, producing mementoes of what was happening in their life as the pieces were made. The idea of taking a picture of each coaster with a handwritten note was inspired by their visit to the Museum of Transology in London.

These pieces are a confident stride from the artist, as the patterns and colours hold personal meanings that they are often too shy to share: “But I’m going to show them. I may still be a bit scared, but I think it's time.”

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學生藝術家的特點是能夠坦率地分享他們的創作動 機，因此這個展覽既具個人特質，又能引起共鳴。 作為策展人，我非常珍惜這種率真，而這種特色在 唐許禎的裝置藝術作品《有效的拖延》中尤為明顯。 唐許禎自認對針織和鉤織非常著迷，他們是在疫情 期間獨自留宿晨興時學會的。他們認為編織是非常 「有效」的減壓機制，亦是自我表達的一種手段。 在他們的杯墊系列中，唐許禎為每件作品寫了一張 札記，講述在編織這件作品時他們在生活中所發生 的故事。而為每件作品和手寫扎記拍照的做法，是 參考他們在倫敦跨性別博物館之行所學到的。 這些作品是藝術家自信的一大步，因為當中的圖案 和顏色具有個人意義，他們往往不敢分享：「但我要 展示它們，我可能仍然有點害怕，但我認為是時候 了。」

Tang, Jane. Productive Procrastination (series). 2021.

Artefacts (knitted and crocheted) and handwritten notes on paper. 唐許禎，《有效的拖延》 （系列） ，2021，手工藝品（編織及 鈎織） 及手寫紙卡。

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MC SPACE

Wong, Jonathan, Solitude. 2021. Film photography. 黃樂恒，《孤寂》 ，2021，菲林照片。

Satria, Inigo. Hong Kong Night Market. 2021. Digital photography.

Inigo Satria， 《香港夜市》 ，2021，數碼照片。

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In addition to entries from applicants, Not Just A Selfie: Inquiries of the Present showcased selected submissions from the annual Morningside College Photography Competition. I included works from Inigo Satria and Jonathan Wong as their work serves as trans-temporal portraits of Hong Kong. With their respective amounts of ambiguity, we can inquire about the past, present, and future – the three categories of this year’s competition. It came as no surprise when Wong’s photo ‘Solitude’ was later awarded the Grand Prize of the Photography Competition, judged

by Mira Sethi.

除了這些參加作品，藝展還展出了晨興書院年度攝 影比賽的精選之作。我收錄了 Inigo Satria 和黃樂恒 的作品，因為他們的作品是對香港的跨時空描繪。 作品各自留白，讓我們探視過去、現在與未來，亦 即是今年比賽的三個類別。黃樂恒的作品《孤寂》後 來更獲米拉·塞西選為今屆比賽的大獎得主。 同為晨興的二年級學生，Inigo Satria 和黃樂恒在中 大的生活體驗可能差不多，但他們對香港的熟悉程

As year 2 Morningsiders, Satria and Wong are navigating life at The Chinese University of Hong Kong with the same amount of experience under their belts. Their familiarity with Hong Kong, however, could not be more different. Satria is new to Hong Kong; his first visit was when he moved into Morningside from his home in Indonesia. Wong is local to Hong Kong and grew up here. Both artists use photography to capture imagery that mirrors their inner thinking with the city as their main subject. For both, taking photos is a form of escapism when academics become stressful.

度卻大相徑庭。Satria 離開家鄉印尼，在香港初來埗

As I met with each artist individually and heard about their own interpretations of my vision for the exhibition, my mind was opened. They radiated great energy as they explained their unique senses of purpose in going beyond their smartphones to express themselves and process their lived experiences. Gallery spaces tend to lack a participatory or social element. This was something I aimed to mitigate in small ways.

For example, I made sure that that each students' intent and character came through as I crafted the informational labels for their pieces. Each label included the answer to my question, ‘What would you like to ask or say to someone visiting the Not Just A Selfie: Inquiries of the Present exhibition?’ They provided questions that prompted visitors to reflect on their engagement with the world around them.

己，如何消化自己的生活經歷時，他們同時在發

It was gratifying to see the pride in our students as their work was shared with our community. In these less-than-normal times, this exhibition was a reminder of the great creative minds that make up the Morningside College student body. Creating not only a platform but a physical space for their work to be celebrated was an effort to add colour to a murky time in history.

們，晨興書院就是由同學們的創意頭腦所組成。為

到就入住晨興宿舍，而黃樂恒卻是土生土長的香港 人。兩位藝術家都以攝影來捕捉這個城市的面貌和 反映自己內心的想法。對他們來說，當感到學業壓 力時，攝影是一種逃避現實的方式。 當我與每位藝術家單獨會面，聽到他們對這個展覽 有各自獨特的解讀與理解，都讓我眼界大開。當他 們分享自己如何以智能手機以外的方式去表達自 放能量的光芒。藝展空間往往缺乏參與性和社交元 素，所以我希望從微小之處去作出改變。例如，當 我寫作品介紹牌時，我會盡量表達出每個參展同學 的意圖和個性，而且每塊介紹牌都記載了他們對我 以下問題的答案，問題是：你想向來參觀「超越自 拍：對當下的探究」展覽的人說甚麼或問甚麼問題 呢？他們提出問題促使觀展者反思自身與外界的互 動。 看到同學很自豪地向大家分享自己的作品，實在很 欣慰。在這個超乎尋常的時期，這個展覽提醒了我 他們提供不止一個平台，還要是一個實體的展覽空 間，是我們為這段灰暗歷史添上色彩所作出的努力。

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MC

MEETS

DRIFTING: A CONVERSATION WITH JUN LI ON FILM, TRUTH, AND COMMUNITY

Edited with an introduction by Nora Ma Jun Li is a Morningside alumnus whose recent film, Drifting (2021), won Best Adapted Screenplay at the 2021 Golden Horse Awards. Jun studied journalism at The Chinese University of Hong Kong and completed an MPhil in Gender Studies at the University of Cambridge.

晨興書院校友李駿碩在中大主修新聞與傳播，亦是

In addition to winning Best Adapted Screenplay, Drifting was nominated for Best Director and Best Picture at the Golden Horse Awards. The film is a fictional story that depicts a real-life lawsuit raised by homeless residents of Hong Kong’s Sham Shui Po against the government.

宿者控告政府的真實案件為題材的虛構故事，同時

Still from Drifting, written and directed by Jun Li. Courtesy of mm2 Studios Hong Kong Limited. 電影 《濁水漂流》劇照，由滿滿額創作香港有限公司 提供。

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劍橋大學性別研究碩士，由他編導的電影《濁水漂 流》 （2021）早前勇奪 2021年金馬最佳改編劇本。 除了奪得金馬獎最佳改編劇本外，這個以深水埗露 還獲得金馬獎最佳導演及最佳影片提名。

濁水漂流：與李駿碩談電影、寫實與街友們 編輯及引言：馬欣華

Jun’s previous works include Liu Yang He (2017), which won the Fresh Wave Award, and Tracey (2018), his first feature debut that was nominated for two Golden Horse Awards, winning Best Supporting Actor.

李駿碩之前的作品亦屢獲殊榮，包括奪得鮮浪潮大

Morningside Fellow Professor Kristof Van den Troost, whose research areas include Chinese film history, interviewed Jun about his experiences directing Drifting and the intersection of Jun’s interests in film and gender studies.

教授訪問了李駿碩執導《濁水漂流》的點滴，並探討

獎的《瀏陽河》 （2017）以及獲得兩項金馬獎提名及贏 得最佳男配角的出道作《翠絲》 （2018）。 今次，從事中國電影史研究的晨興院務委員溫祺德 他的電影工作與性別研究之間的交集點。

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MC MEETS

KV: Professor Kristof Van den Troost 溫祺德教授 JL: Jun Li 李駿碩

KV: Let's talk a bit about Drifting, your most recent film. For that film, you mentioned you reported on that as a student when the street sleepers were there and their property was confiscated in 2012, which became a court case. What other research did you do to get to know this community, to make the film that you ended up making?

JL: When I first got in touch with the Sham Shui Po street-sleeper community in 2012, I hadn’t yet thought of making a film about them. I started the research particularly for Drifting around 2017. At that time, I was doing research for another project about a Chinese medicine doctor. When I was interviewing him, he mentioned that he and several other doctors would occasionally go to Sham Shui Po to take care of patients on the streets. This eventually became a scene in the film.

When I returned to Tung Chau Street, I found many things had changed since 2012, and that was when I decided I really wanted to write a story about the street-sleeper community. I put the story about the doctor on hold and did that story first.

In 2012 I had mainly interviewed the street sleepers themselves and didn’t talk to any social workers. But for the film I had to, in order to better understand the community and its history. Aside from social workers, I interviewed many more people who know these street sleepers.

KV: You mentioned that you consider yourself a bit more of a commercial filmmaker. Both Drifting and the film I’m Livin’ It, which came out in 2019

by Danny Wong, deal with a similar subject – street sleepers. I've seen people compare your film to that film and say that yours is closer to reality and is less commercial than that earlier film. My question for you is, how do you balance this need to appeal to an audience to tell a good story, with staying true to the reality and the story that you think is important to tell.

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KV: 談談你最近期的電影作品《濁水漂流》，你曾提 過在 2012 年露宿者被政府清場而告上法庭的案件發 生時，你曾以新聞系學生身份到現場採訪。你為這 部電影做資料搜集時，還做了甚麼？ JL: 當我在 2012 年接觸深水涉的露宿者時，我還未 萌生要將這個題材拍成電影的念頭。我大約在 2017 年開始籌劃《濁水漂流》，當時其實我正為另一個中 醫劇本做資料搜集，當我訪問一位中醫時，他提到 會和其他幾位中醫不時為深水涉的露宿者義診，而 這後來亦成為了電影的一幕。 這次當我再到訪通州街，我發現這裡跟 2012 年時 變了很多，所以我決定要先寫一個關於露宿者的故 事，而中醫的劇本則先擱下來。 在 2012 年時，我主要是訪問露宿者，沒有和社工談 過。不過為了拍這部電影，我就曾向社工了解這群 露宿者的故事和過去。除了社工，我亦接觸過很多 認識這群露宿者的人士。 KV: 你提過你認為自己是一個較商業化的電影導 演。你的《濁水漂流》和早於 2019 年上演由黃慶勳 導演執導的《麥路人》都是以露宿者為題材，許多人 看過後都認為你的作品較寫實，另一部則商業味較 重。我想問的是，你要做到寫實同時又要帶出想表 達的訊息，是怎樣去平衡劇本來吸引觀眾呢？ JL: 我覺得題材是相近的，但有明顯不同的地方。 例如，當談到深水埗天橋底露宿的街友時，就很難 無視他們很多都是癮君子的事實。雖然大家心知肚

JL: I think the topic is similar, but there are some essential differences.

For example, if you talk about the people under the flyover in Sham Shui Po, it's hard to ignore the fact that a lot of them are drug users. It’s a very touchy topic to put in a film because it's a fact that exists in that community and everybody knows it. The people in the neighborhood — or even everyone in that community — admits it, but at the same time, how do you present it as a filmmaker? If I omitted that fact — because it's about a local lawsuit — it would have been so unreal to me because I could feel how much weight it had on the community. By omission it would mean that I believed that only clean people can pursue justice, but that was not the case.

However, it’s a very touchy topic, not least because of local censorship rules. When you include a shot of someone doing drugs, the film automatically becomes Category III, which would hurt the film commercially as only audiences over eighteen years old can then watch it in the theatre. So, you have a lot of things to consider, but still, being truthful about how things are in real life is important to me. It’s not about painting these people in a positive light, in a way that they don't feel real. You shoot the story truthfully so that when they see it, they don’t feel betrayed. I think the audience can be touched by the film, not because I did a fake nice thing but rather because I did an authentic thing. In short, I told my producer that, if I had to gloss over reality, I would not make this film.

KV: While you were shooting Drifting in 2019, the protests were happening in Hong Kong. Did that impact your project in any way? Was it difficult to shoot?

JL: It was difficult to shoot because, as you may have noticed, a lot of the scenes are in the streets. A lot of the scenes were filmed in guerrilla fashion. Because we had a lot of big actors and actresses, it’s not the usual way they do it on a film set. A lot of the time, we had to go to a place and shoot very quickly. We did it in a very ad hoc way, or documentarystyle, because there was no time to plan how they moved beforehand.

For example, when we were shooting the scene where Fai Gor and Chan Mui were chatting at night on Nam Cheong Street, a protest march was in Prince Edward and heading towards Sham Shui Po. It could have become dangerous for the crew. On another day, we were in Wan Chai to film the scene of the street sleepers’ protest. Meanwhile, a real-life protest was taking place in Causeway Bay, very close by.

明，但要放入電影卻是非常敏感的事。附近的街 坊、甚至街友都從沒有否認，不過，作為導演，要 如何將它呈現在電影中呢？如果我因為他們要上庭 而避而不談，對我來說是偏離現實，因為我知道這 是街友生活的重要一部份。如果我刻意迴避，反而 代表我認同只有潔白無瑕的人才有權去追求公義， 但事實不該如此。 不過，這的確是一個很敏感的話題，因為香港有自 己的評級機制。如果出現有人吸毒的畫面，電影就 會自動被評為三級，只限 18 歲以上的觀眾才可入 場，會影響票房收益。所以，要考慮的事情很多， 不過，反映社會真實一面對我很重要。我們不是要 粉飾太平，而是要用真實的角度去描繪，這樣他 們自己看過後，才不會覺得被背叛。我覺得觀眾被 電影感動，不是因為我隱惡揚善，而是因為我夠寫 實。我跟我的製片說過，如果要塗脂抹粉，我就不 去拍這部電影了。 KV: 當你在 2019 年拍攝《濁水漂流》時，香港正發生 大型示威，有影響到你的作品嗎？有令拍攝增添難 度嗎？ JL: 當時的拍攝工作並不容易，如果你有留意，許多 場景其實都是街頭，許多鏡頭都是游擊式完成的。 我們用了不少大明星，這些並不是他們習慣的片 場。很多時，我們要到一個地方速戰速決拍完，用 臨時即興或紀錄片的方式來拍，因為根本沒有時間 預先設計演員如何走位。 例如，當我們拍攝輝哥（吳鎮宇飾）和陳妹（李麗珍 飾）在南昌街對話的場口，示威人潮正從太子朝深水 埗方向前進，對於工作人員可能有危險。另一日， 我們在灣仔拍攝露宿者請願的鏡頭，當時真實的示 威人潮其實就在銅鑼灣，大家非常接近。 就如其他人一樣，我們在這段時間也不好過。大家 都在拍攝現場看電話，根本都無法集中。我們都很 關心街頭上發生甚麼事，除了實際的拍攝困難，大 家也都心事重重。

“…being truthful about how things are in real life is important to me. It’s not about painting these people in a positive light, in a way that they don’t feel real.

You shoot the story truthfully so that when they see it, they don’t feel betrayed.” 「反映社會真實一面對我很重要。我們不是要粉飾太平，而是要用真實的角度去描繪， 這樣他們自己看過後，才不會覺得被背叛。」

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MC MEETS

As for many people, it was a very hard time for us. Everyone on the set was constantly on their phone, we couldn’t focus on anything. We were all so concerned with what was happening on the streets. In addition to the physical difficulties, there was a mental weight on us while we were shooting the film.

KV: 這種感覺最終有在電影中呈現出來嗎？

KV: Do you think that translated into the film itself, eventually?

反映了我們當時的感受。

JL: The image always reflects the time when it was shot. Even in a very peaceful time, right? It in a certain way captures the whole atmosphere of that place at that time. I think those emotions and those things that happened in the picture reflect what we felt at that time.

KV: 你引用了朱迪斯 · 巴特勒《剝奪》一書中的一段

KV: You start the film with a quote from Judith Butler’s book Dispossession. Judith Butler’s work seems to be quite relevant to your films because she talks about performativity and the body. She has also more recently been interested in protest and activities in public space.

How do you see that relationship? Why did you choose that quote? Do you think there’s a deeper relationship between Judith Butler’s work and your own artistic work?

你為甚麼會選擇這個引言呢？你認為巴特勒的作品

JL: It was a new world when I did my postgraduate degree. I was exposed to all these great thinkers. Judith Butler is, for people of my generation, a huge influence on many of us. The turn to public space, freedom of speech, and freedom of assembly, as well as how she theorized it and how she talks about freedom of assembly as different to freedom of speech because of the dimension of the body, was so eye-opening and mind-blowing to me. When she wrote the book Notes Toward a Performative Theory of Assembly (2015), I was doing my postgraduate degree. I was enchanted by how she thinks about public assembly.

與言論自由因為身體維度而有所不同，令人大開眼

She theorized it after all these years of Occupy Wall Street and all the protests that happened in the 2010s. That was the time when I came to know the world, right?

勒就是這個世代的偉大思想家。

I think that was the sixties for us, for my generation. She was that great thinker for this era.

JL: 電影的畫面會呈現拍攝一刻的實況，即使在太平 盛世也是一樣吧，它會以某種方式將此時此刻的整 個氛圍攝入鏡頭。我覺得電影中的情緒和故事，都

話來做電影開場白。她的作品似乎與你的電影甚有 淵緣，因為她談到了展演性和身體。她最近還涉獵 到公共空間抗爭運動的議題。你怎麼看這種關連？ 和你的藝術作品之間有更深的關係嗎？ JL: 當我攻讀研究生時，我進入了一個新的世界。 我接觸到許多偉大的思想家。朱迪斯 · 巴特勒對我 這一代人影響非常深遠。她如何轉向公共空間、言 論自由和集會自由，再將其理論化，剖析集會自由 界，茅塞頓開。當她寫《展演性的政治聚合》 （2015） 時，我正在讀研究生，她對公眾集會的見解令我深 受啟發。 她經歷 2010 年代為期多年的佔領華爾街運動和各種 示威之後，嘗試將其理論化。這就是我真正去認識 世界的時候。 對我這一代人來說，這就是我們的 60 年代，而巴特

這就是我如何構想出《濁水漂流》這個題材，就是通 過巴特勒的視角。

Jun Li (left) in conversation with Morningside Fellow Professor Kristof Van den Troost (right). 《濁水漂流》導演李駿碩（左）接受晨興院務委員溫祺德教授（右）訪問。 訪問。

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That is how I acknowledge how I think about this subject in Drifting — through a Butlerian lens.

KV: 你在電影中使用了很多不同類型的音樂，給觀

KV: You use a lot of different types of music in your films. It is a very rich auditory experience. All your films also include scenes of people playing a musical instrument. Is this something you did consciously? How do you see the role of music in your films?

奏樂器的場景，是你刻意安排的嗎？音樂對你的電

JL: I value and emphasize the audio. It's not only the music. There are also the surroundings, the ambience, and the editing of the dialogue.

I think I focus a lot on that. When it’s not done well, when you can tell some films recorded dialogues in the recording room without good sound mixing, I get mad about that. I spent so much time with my sound mixing guy, more than the color grading guy, because these are the things I am distracted by if I am in the audience. I don’t favor one genre of music, as you can see in my films, but I do constantly try to search for the best music for that particular film.

The scoring of Drifting was particularly difficult. As you see now, there’s not a lot of music throughout, but I really, really liked the score. It’s different than a lot of Hong Kong film scores. Only Wong Hin-yan can produce the texture of the score featured in Drifting. He plays one of the characters in the film; he plays the new guy at the end. He’s a great actor and a great musician.

He’s on his way to becoming a master of a certain genre. I liked how we worked together because he kept giving me new ideas. When I listened to one of his tracks, I thought, “mmm that’s not what I’m looking for.”

Then he’d redo it again and again. He never did it as I wanted it or how I described it, but he kept doing it in a way that he was comfortable with.

There were seven or eight versions of the score for the scene with Muk Zai and the sex worker. I really wanted to use one of his previous tracks that he’d made for that sequence. However, he kept rejecting that idea.

“I’m not going to let you have that one. I’m going to make a new one.”

I kept disliking the new tracks. We finally reached a point when he had made a track that felt appropriate, and I really liked that one. That’s it.

We worked on so many versions before we got that.

KV: You write your own scripts for your films. I think you’ve also published articles in newspapers. Can you give any tips for people who aspire to be a script writer, maybe current students who would want to follow that path?

JL: I think the reason I write scripts quickly is because I have a good memory. I basically write what I hear. I listen to what people say. I really listen. That’s why I remember what they say. I remember my feelings about it. I remember other people’s reactions. And my dialogue comes from real life.

It depends on the genre really. Dialogue is the reason I can’t do action.

A lot of people use imagination to visualize what people do and say and that leads to certain kinds of plots, but my films don’t work that way. So, I listen to what people say. I remember and respect what they think and who they are while I’m listening to them.

眾非常豐富的聲音體驗。你所有的電影作品都有演 影有甚麼作用？ JL: 我非常重視聲音，不單止音樂，還有環境聲、氛 圍，以及對白的剪接。 我在聲音上花很多功夫。如果做得不好，例如當你 聽得出有些對白是在錄音室錄的，沒有混好音，我 就會很生氣。我花很長時間與混音師一起，遠遠比 調色師多，因為如果我是觀眾，混音做得不好，我 就很容易分神。你在我的電影中會留意到，在音樂 類型上我沒有任何一種偏好，但我會堅持為一部電 影尋找最好的音樂。 為《濁水漂流》配樂非常困難，你會發現，整部電影 沒有很多音樂貫穿，但我真的很喜歡我們的配樂， 它與大部份香港電影的配樂都不同。只有黃衍仁能 夠為這部電影的配樂做得如此有質感。他亦出演其 中一個角色，即是片尾出現那個新人。他是一個很 好的演員和音樂家。 他將會成為某種音樂流派的大師。我很喜歡我們合 作的方式，因為他常常給我新靈感。當我聽過他的 作品然後說「嗯，這不是我想要的」，他就會不斷重 新再做。他不是按照我要求或我形容的去做，而是 用自己舒服的方法重新嘗試。 在木仔（柯煒林飾）與性工作者的一幕，配樂足足有 七八個版本。我很想用他之前為這組鏡頭做好的一 個曲目，但他一直拒絕。「我不會給你用這個的，我 會做一個新的給你。」然後他新做了幾個我都不喜 歡，最終，他做出了一個我認為合適的曲目，而且 我非常喜歡。這就是我們合作的方式。我們做了許 多嘗試才有最終的版本。 KV: 你為自己的電影寫劇本，也在報章寫專欄。你 可以給有興趣成為編劇的人、又或是想向這方面發 展的學生一點建議嗎？ JL: 我覺得我寫劇本之所以快，因為我記性很好。 我基本上就是將聽到的寫出來，所以我是一個聆聽 者。我用心去聽，所以我會記得人們說過甚麼，記 得我當時有怎樣的感受，記得他們怎樣反應，而我 的對白都是來自真實生活。 不過這也視乎片種。對白是我不能做動作片的原 因。很多人會用想像力去構想人們會說甚麼會做甚 麼，然後發展出怎樣的劇情，但我的電影不是這樣 的。我會聽人們說甚麼，當我聽他們說話時，我會 記著他們的想法和尊重他們。

Jun is currently working on a new, less mainstream film project titled “I Might Write About Us” that focuses on his long-distance relationship with his partner.

李駿碩現正製作一部名為《眾生相》的非主流電影，講述他與伴侶的遙距愛情。

24

ALUMNI

NEWS

From Morningside to Vienna

By Venice Fong

從晨興到維也納 方紫君

Asa Nim, a secretary of the Morningside College Alumni Association, is currently a Postdoctoral Research Scientist at The Max Perutz Labs, a leading biomedical research centre in Vienna. Before moving to Europe, Asa spent over 8 years at CUHK, first studying toward a bachelor’s degree and finally attaining a PhD in Biochemistry. During this time, Morningside was his home-from-home.

Asa attended the CUHK Information Day, and only remembered Morningside College after visiting all the college booths: “I was impressed by the sharing of an MC student, Yin Long Lin (Physics, 2013).

I still vividly remember the image he presented - a calm and intelligent student who spoke really good English. It made me feel that I might be able to learn something or change myself in this college. Back then, I was quite an introvert and my oral English was poor.”

Seizing All Chances to Enter the Research Circle Whether he was choosing a college, deciding to pursue a PhD at CUHK, or contemplating a move to Vienna for work and study, Asa has tended to make up his mind quickly:“These [opportunities] came all of a sudden.

I made the decision to apply to be a Resident Tutor at Morningside and pursue a PhD in only one month. I struggled with my grades during undergraduate study as I spent a lot of time on extra-curricular activities such as the Student Union and the International Genetic Engineering Competition. The requirement for postgraduate study is upper secondclass honours, but I only achieved lower second-class honours. Then I met my PhD supervisor, Professor Wong, who encouraged me and admitted me as his student.”

The words from Professor Wong were very encouraging: “Not everyone with good grades knows how to do experiments. Perhaps you could be the next Tsui Lap-Chee. Tsui only got third-class honours and he is now a renowned professor.”

“I got the position as Resident Tutor in Morningside at the start of my PhD study. I remember Professor Janny Leung (former Warden and Dean of Students), Professor Ann Huss and Yong-Hong Kuo, a very senior Resident Tutor interviewed me. I really thank them for giving me the position. At that time they did not know that I had financial difficulties and could not pay the tuition fee. Being a Resident Tutor relieved my

25

晨興校友會文書念熠丞現為維也納生物醫學研究中 心 Max Perutz 實驗室的博士後研究科學家。在移居 歐洲之前，熠丞曾在中大生活超過 8 年，首先是取 得學士，最後是攻讀生物化學博士。所以，晨興可 說是他的另一個家。 回想當年參加中大資訊日，熠丞在參觀完所有書院 攤位後，只記得晨興書院：「我對一位晨興學生林彥 琅（物理，2013）的分享，印象非常深刻。我仍然清 楚地記得他當時的形象，他是一個文靜又聰明的學 生，英語說得非常好，讓我覺得我可以在這所大學 裡學到一些東西或改變自己。那時候的我是一個很 內向的人，英語也很弱。」

屢遇伯樂 踏上科研路 無論是選擇大學、決定在中大攻讀博士，還是考慮 到維也納工作和進修，熠丞總是很快下決定：「因為 這些（機會）來得突然，所以我只用了一個月時間， 就決定申請做晨興的宿舍導師和攻讀博士學位。在 本科學習期間，因為我花了很多時間參加學生會和 國際基因工程競賽等課外活動，導致學業成績一 般。研究生的入學要求是二級甲等榮譽，但我只獲 得了二級乙等榮譽。然後我遇到了我的博士生導師 黃教授，他鼓勵我並錄取我為他的學生。」 黃教授的話給我很大鼓勵：「不是每個成績好的人都 懂得做實驗，說不定你能成為下一個徐立之。徐只 是取得三級榮譽，但現在是一位知名教授。」 「在我開始攻讀博士學位時，我獲得了晨興宿舍導師 的職位。我還記得面試我的是梁美兒教授（前任書院 舍監兼輔導長）、何素楠教授和當時的資深宿舍導師 郭永鴻，我很感恩他們錄取了我。當時他們並不知 道我經濟困難和付不起學費。成為宿舍導師解決了 我的經濟負擔，否則我可能要推遲入學。」

financial burden; [without this opportunity] I might have had to defer admission.”

負笈維也納，是熠丞另一個突如其來的決定。「這不 在我的計劃之內，我沒想到我第一次申請國際研究 實驗室的職位就拿到了聘書！」他在申請研究工作時

Going to Vienna was another sudden decision. “This was not in my plan.

I didn’t expect to get an offer with my first application to an international research lab!” Asa was looking for a referee when applying for research jobs. “Then I approached Professor Nick Rawlins, because he is doing neuroscience and might understand my research. I hadn’t known Nick for long at that time, less than a year. We had a special experience together protecting the College during the 2019 social movement. Nick asked me to do a presentation about my work. I only knew later that his reference letter was instrumental to my admission to the current laboratory at Vienna.”

敢想敢做

Be Brave and Be Bold

對於熠丞來說，晨興充滿了苦樂參半的回憶。「我

Morningside was full of bittersweet memories for Asa. “I had a difficult time with GEMC1001. I did not understand the readings and the discussions. They were all in English and discussions were conducted at a very fast pace. My grade was B- but it was interesting. Later on, I came to understand that philosophy is in everything. In science, the formulation of new concepts and theories, the critical assessment of scientific assumptions, and the relationship between science and society, all developed from philosophy.

“I really like the general education at Morningside. GEMC1001 gave freshmen an abstract idea about the world, how to think and perceive the world. In the final year, after gaining some knowledge from major courses and electives, one has built up their values and thoughts. We can put them into action in the service learning project (GEMC3001) to help the world. The college experience met my expectation of what a university education should be.”

One might say that Asa has been especially lucky over the years, but there is no doubt that his willpower, determination and discernment (and his Morningside connection!) have served him well.

需要有推薦人，「然後我找到了院長汪寧笙教授，因 為神經科學是他的研究領域，我想他可能會理解我 的研究。那時我認識汪教授的時間不長，還不到一 年，但我們有一個很特別的經歷，就是在 2019 年的 社會運動中一起保護書院。後來汪教授請我做一個 口頭報告介紹一下自己的研究，之後我才知道，他 的推薦信對我獲維也納的實驗室錄取有關鍵作用。」

在通識課 GEMC1001 遇到不少困難，我不明白讀本 和討論的內容，因為它們都是英文的，而且討論速 度非常快。我的成績是 B-，但我仍然覺得很有趣。 後來，我漸漸明白到，哲學其實存在於所有事物之 中。科學中所有新概念和新理論的形成，對科學假 設的批判性評估，以及科學與社會的關係，其實都 是從哲學發展出來的。 「我真的很喜歡晨興的通識教育。GEMC1001 為新生 提供了一個關於世界的抽象概念，教學生如何思考 和感知世界。大家從主要科目和選修課中累積到一 些知識後，建立了自己的價值觀和想法，然後最後 一年就在服務學習項目（GEMC3001）中將理念實踐 出來去幫助世界。我在晨興的經歷，完全符合我對 大學教育應有的期望。」 別人可能會說，熠丞這些年來特別幸運，但毫無疑 問，他的意志力、決心和洞察力（以及他於晨興的人 脈！）對他真的很有幫助。

Asa (left) celebrating his bachelor graduation with Professor Janny Leung (right). 念熠丞（左）與梁美兒教授（右）在畢業班拍照日合影。

26

ALUMNI NEWS

Meet the Morningside College Alumni Association Executive Committee Members and see their advice for current Morningsiders: 認識晨興書院校友會的執行委員會成員，看看他們給晨興人的話：

“Take every chance you get. Experience as much as you can while you are young. Don’t be afraid of failing.”

Anson Ma, Chairperson 馬立苗，主席 Cultural Management, 2017 文化管理，2017

Anson is currently an Assistant Influencer Marketing Manager at CASETiFY in Hong Kong. When asked about her most memorable Morningside experience, she mentioned the nightly gatherings on the 1/F bridge: “Simple times and good companions created everlasting memories. Morningside offered me opportunities to meet friends for a lifetime.”

「年青時要把握所有機會，盡情體驗生活，不要怕跌倒。」 Anson 現時在 CASETiFY 擔任市場推廣工作。當問到她在晨興最難忘的經歷時，她 說是在連接高低座一樓的橋上無數次的夜聚：「簡單的時光、美好的夥伴，就能創 造出最難忘的回憶。晨興讓我有機會認識到終身的摯友。」

“Set new goals and keep challenging yourself.”

Daniel currently works as an actuary in Hong Kong and is enrolled in a part-time Psychology programme. He has fond memories of being the Master of Ceremonies during formal hall dinners and other college events. He wishes, though, that he had joined the College Rowing Team or the Student Union.

Daniel Ng, Vice Chairperson 吳孝銓 ，副主席 Insurance, Financial and Actuarial Analysis, 2019 保險、金融與精算，2019

「訂立新的目標來挑戰自己。」 Daniel 現時在港任職精算師，並正兼讀心理學課程。他的美好的回憶，是在書院的 高桌晚宴和其他大學活動中擔任司儀。不過，他更希望當年自己曾參加大學賽艇隊 或學生會。

“Cherish every moment spent in the College and never shy away from saying ‘Hi’ to a fellow Morningsider.”

Shubhro has been working in Financial Services at Goldman Sachs since graduation.

Shubhro describes Morningside as an “intricate and close-knit community”. You will discover that “people from seemingly diverse backgrounds” are in fact not so different once you start talking to them.

Shubhro Halder, Vice Chairperson 「珍惜在書院的每一刻，敢於與每一位晨興人打招呼。」 副主席

Electronic Engineering, 2019 電子工程，2019

27

Shubhro 畢業後一直在高盛從事金融服務工作。Shubhro 形容晨興是一個「多元複 雜而緊密的社區」，只要你開始和其他人交談，你就會發現「看似不同背景的人」實 際上有很多相似之處。

“Find something you are passionate about and develop it.”

Samuel is a credit analyst at a Petrochemical Company in Hong Kong. Although 8 years have passed since his graduation, he still thinks fondly of attending communal dinners, organizing college orientation camp, and studying on the bridge: “Meeting Fellows and students from different cultures and academic backgrounds enriched my university life.”

Samuel Wong, Treasurer 黃琛銘，司庫 IBBA, 2014 工商管理學士綜合課程，2014

「找出你熱愛的東西，然後朝這個方向發展。」 Samuel 是香港一間石化公司任信貸分析師。雖然已經畢業 8 年，但他仍然懷念參加共膳 晚宴、組織大學迎新營和在一樓橋上溫習的時光：「能結識來自不同文化和學術背景的教 授和同學，令我的大學生活更豐盛。」

“Find a good balance between study and life. Be open to meeting and learning from new people. Explore and do what you love – and enjoy your college life.”

Tiffany Ip, Secretary 葉嘉恩，秘書 Chemistry, 2013 化學，2013

Tiffany works in product regulatory affairs here in Hong Kong. Her fondest memory is of moving into the College. Morningside was under construction when she was admitted to the University: “On the day we moved in, I was so excited and happy that we were finally here.”

「在學習和生活之間找一個平衡點，以開放態度去結識新朋友和向他們學習，探 索和做你喜歡做的事，還要享受你的大學生活。」 Tiffany 在港從事產品規管事務的工作。她剛入學時書院宿舍還在興建中，她最美好的回 憶正是搬進宿舍的那天：「我非常興奮，終於可以搬進來了。」

“You have the freedom to execute the craziest ideas while you are in your 20s.”

At Morningside, he has fond memories of running to Shaw College with the “Wolf Pack”, a student running club. In his experience, “a plan may not be necessary and the journey may not be as difficult as expected.”

Asa Nim, Secretary 念熠丞，秘書 Biochemistry, 2014 生物化學，2014

「當你 20 多歲時，你有自由去實現最瘋狂的想法。」 在晨興，他最美好的回憶是與學生跑步組織 Wolf Pack 一起跑到逸夫書院，他的經驗之 談是：「不一定事事都要先有計劃，而且過程可能沒有想像般艱難。」

“Attend as many talks and events as possible. The speakers that the College invites to dinners are distinguished in their fields. They may introduce new perspectives that you might not otherwise encounter in a classroom.”

Angela Wu, General Officer 胡芝瑭 ，常務 Law, 2014 法律，2014

Angela works as a solicitor in Hong Kong. Like many Morningsiders, she fondly recalls all the late night talks on the bridge: “These talks were spontaneous. The conversations were at times about practical day-to-day issues, and at other times deep philosophical topics such as why we exist.” These conversations gave Angela “a lot of insight into [her] fellow college mates and often sparked new friendships.”

「盡可能參加講座和活動，書院邀請的演講嘉賓都是該領域中的成功人士，讓你 接觸到課堂上不會遇到的新觀點。」 Angela 在港任職律師。就如許多晨興人一樣，她很懷念在一樓橋上的深夜長談：「這些 討論都是很自然地發生。有時是聊日常生活，有時是談深奧哲學，例如我們為甚麼存 在。」這些討論讓Angela更了解她的同學，並經常結交到新朋友。 28

ALUMNI NEWS

“Take advantage of the College’s ‘Exploring Hong Kong’s Cultural Resources’ Programme to attend artistic and cultural events.”

Martin Li, General Officer 李俊毅，常務 Law, 2014 法律，2014

Martin is a Barrister at Central Chambers. He has fond memories of running with the Wolf Pack (a student running club) on Thursday nights: “What started out as an excuse for a latenight snack quickly attracted dozens of students of varying ability. Master Sir James Mirrlees noticed the unusual activity…and wrote about it in his 2011-2012 Master’s Report.”

「善用書院的『香港文化資源探索計劃』參加藝文活動。」 Martin 是 Central Chambers 的大律師。他最懷念逢星期四晚的 Wolf Pack（學生跑步組織）跑 步活動：「最初是找個藉口吃宵夜，後來很快就吸引到不同的同學加入。當時院長莫理斯教授 亦有留意到這個特別的活動，並於 2011-2012年的院長報告中提及。」

“Use the resources of the University and the College as much as you can. Go to exchange, seung jong [join student club activities], and explore different classes and interests.”

Jessica Chu, General Officer 朱雅頤，常務 Law, 2014 法律，2014

Jessica is a lawyer at an international law firm in Hong Kong. She did two exchanges and one global internship in the UK, Australia and USA, experiences that were “easily the most memorable moments” of her life to date. As a member of the College’s Rowing Team, enduring 6am trainings, doing time trials with crew mates, and occasionally capsizing the boat are all fond memories.

「善用大學和書院的資源，去交流、上莊，探索不同的課堂和興趣。」 Jessica 在香港一間國際律師事務所任律師。她曾到英國、澳洲和美國進行兩次交流和一次實 習，成為她至今最難忘的經歷。作為書院賽艇隊的一員，她堅持早上 6 點進行訓練，又跟隊 友一起做計時賽，即使偶爾翻船也是很美好的回憶。

CONTRIBUTORS 作者 Nicole Choi grew up in Hong Kong and will graduate from The Chinese University of Hong Kong in 2025 with a degree in Medicine. She enjoys caring for her plants in her spare time. 蔡佩霖在香港長大，目前正在中大修讀醫科，將於 2025 年畢業。她喜歡在閒暇時打理植物。 Alan Yao grew up in Hong Kong and is currently studying Medicine. In his free time, he enjoys reading books and eating too much for his own good. 姚伊行在香港長大，目前正在中大修讀醫科。在閒暇時，他喜歡看書及品嘗美食。 Yin Leung grew up in Hong Kong and currently studies Medicine at The Chinese University of Hong Kong. 梁言在香港長大，目前正在中大修讀醫科。 Maryellen Stohlman-Vanderveen graduated from Smith College with a BA in Philosophy and a minor in Psychology in 2019. She was a Junior Fellow from 2020-2022. 范美侖於 2019 年畢業於史密斯學院，獲得哲學學士學位，副修心理學。她於2020至2022年擔任晨興通識教育導師。 Juliet Levesque graduated from Connecticut College in 2020 with a Museum Studies Certificate and BA in History with a concentration in East Asia. She was a Junior Fellow from 2020-2022. 李慧姿於 2020 年畢業於康涅狄格學院，獲得博物館研究證書和東亞歷史學士學位。她於2020至2022年擔任晨興通識教育導師。 Nora Ma graduated from Georgetown University in May 2021 with a BA in Government and History. She was a Junior Fellow from 2021-2022. 馬欣華於 2021年5月畢業於喬治城大學，獲得政治學和歷史學雙學士學位。她於 2021至 2022年擔任晨興通識教育導師。 Venice Fong received her BBA and MSSc from The Chinese University of Hong Kong. She is the Advancement Manager of Morningside College. 方紫君在香港中文大學取得工商管理學士及社會科學碩士學位，現為晨興書院拓展事務經理。 29

Copyright©2022 by Morningside College, The Chinese University of Hong Kong.

All Rights Reserved.

This magazine includes a still and a behind the scenes photo from Drifting ( front cover, p.19, and p. 20).

Images were provided courtesy of mm2 Studios Hong Kong Limited. 本雜誌刊載了《濁水漂流》的劇照及幕後照片（封面、第19 及20頁）。圖像由滿滿額創作香港有限公司提供。

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