新生代的來臨該衷心祝福吧。此時此刻，送上最好的願望。The arrival of a new life itself deserves whole-hearted celebrations...
In the second of a series of field notes as short essays, Linda Lai continues to craft possible histories of Hong Kong’s everyday interiority through the lens of “intelligentsia” responses within the filmmaking community in the immediate post-WW2 years. 一連三篇由「細路祥」出發的第二篇：黎肖嫻繼續探討「細路祥」化身銀幕上，成為了甚麼樣的文化資本。小孩所牽連的是一張複雜的管治的權力網。
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。
「我跟彈珠人有一種緣份，跨越了二十多年時間，這種特殊的喜愛也是一樣的。無論在小學，還是到現在，相比其他漫畫，這個故事情節也比較真實…。」（2017，黃福權）成年人眼中的沈溺，在一個小孩來說，或許是有他們的原因的，也可以是一生的能源的暗出口。今天的他再回顧小六時候的記憶。Wong Fuk-kuen sees a clear linkage between the young kid and the adult of himself through the marble shooting toy B-Daman. Here, he speaks of the 20-something-year attachment.
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?
2020年5月，陳顯宗從黎肖嫻手裡拿走了共10冊，於1974-76改編並重發的 1947-49年上海《大公報》連載的《三毛流浪記》的最後一集。時值文革尾聲。為何此時重新整理流浪記？有何逼切性？是「創傷性黑暗時代後價值觀」的重新建立？重新尋找容身之地的時代？ Reading the final of the 10 volumes 1976 adaptation of the wanderings of Three Hairs of 1930s-40s, Sam Chan asks if the denouement of the series is also a form of closure to the Cultural Revolution, in search of the ethos and pathos for China’s own post-trauma reconstruction.
2020年7月，據點成員駱敏聰從黎肖嫻的手裏取來《三毛流浪記》全集的第七集，寫個自由發揮的「閱讀報告」。三毛的遭遇，在三個「問三毛」的「隨機訪談」中漠然化開了，難成合體的論述；讀故事的人卻在前台亮點。這是個有關當下香港人的非典型讀漫畫的案例。FP member Kel Lok took #7 of the story of Three Hair’s wandering to attempt a book review, which turns out to be an ensemble of personae reading the copy on a poor kid’s encounters in the war-torn years of 1930s-1940s through the lens of a contemporary person. The sensationalist… The skeptic… The indifferent one… The one making detours…
The first of a series of articles on children, comic characters, movies and so on, to explore how the “child” is often the subject and object of interpellation to augment instrumental reasons in population management. Linda Lai started with her research notes on Sanmao (Three Hairs), a kid, a comics character created for adults, who has been “resurrected” constantly since his “birth” in 1930s in Shanghai. 以孩子論說苦難，召喚善心的行動，是人口或國民管理常用的工具理性，也是進步思想的倡議的濃縮再現。其實孩子們都是怎樣長大的？我們都曾是孩子。我們是怎樣活過來的？
What was life like for an ordinary kid growing up in crammed flats in public housing? Tough, but ordinary, when the notion of “poverty” was not turned into an ideology that undermines you. 1960s, 1970s. Hong Kong. FP writer Wai-leung Lai recalls… 只有最基本的資源也是日子的一種。活著總有生趣，就看你。那是當「缺乏豪華生活」未被化成統計，未被化作意識形態之前…。普通人的普通故事。
Connecting childhood: yours, mine and theirs. Fishing with Popo (2011) by Lilian Fu is among the artist-animator’s first experiments with documentary animation. Several young artists have responded… Two pictograms on this work, by William Phuong and Louise Chan, exhibited at The Ventriloquists…Thinking Narratively, 4-17 July 2020, are transmedia extension of Fu’s animated memories of her grandma.