HSBC Fisherman advertisement

Fisherman (漁民)
AgencyTed Bates (Hong Kong) (Bates Hong Kong Limited)
ClientHSBC
LanguageCantonese, Hokkien (English subtitle version)
MediaTelevision, cinema[1]
Running time1 minute 32 seconds[1]
Release date1995
Slogan
  • 與你並肩，邁向明天 (Your Future Is Our Future)
Written byAngela Pong (龐婉貴) (Chinese copy)
David Alberts (English copy)
Directed byLouis Ng (吳鋒濠)
Music byChan Ming-Cheung
Produced byRowena Chu (朱小亞)
CountryBritish Hong Kong

The 1995 HSBC "Fisherman" advertisement is a television advertisement launched by HSBC in British Hong Kong in 1995. It is commonly referred to as "Fisherman" (漁民).[Note 1][2][3] It was planned by the Hong Kong branch of the advertising agency Ted Bates. Through the monologue of a fisherman, it depicts the Hong Kong spirit and links this spirit with the corporate image of HSBC, which has a history of more than a century.

The advertisement won several awards and has been the subject of analysis by advertising and cultural scholars. In addition to advertising techniques, the analysis also involves capitalism consciousness, Hong Kong identity, and the mentality in the face of the approaching 1997 handover.

In black-and-white footage, a hereditary fisherman narrates his life experiences in monologue, mentioning three major natural disasters in History of Hong Kong, including the loss of his fishing boat during Typhoon Wanda, earning money to buy a new boat by transporting water for fishing vessels during the 1960s water rationing, and the tragic situation in Hong Kong during the June 18 rainstorm. In his old age, his son has started a family, and they move into a public housing estate and operate a noodle stall on land, no longer fishing. The footage intersperses relevant news clips. The monologue emphasizes the need for self-reliance and adaptability in the face of adversity, for example:[4][5]

  • "My grandfather said that those who make a living by fishing must observe the weather. I say that people must also observe themselves."[Note 2]
  • "I told myself, as long as people are fine, what can't be started over from the beginning?"[Note 3]
  • "Then? The June 18 rainstorm. Alas! The sky really... but it's fine, having lived for decades, what storms haven't we seen?"[Note 4]
  • "It doesn't matter what you do! In Hong Kong, whether you can make a living or not depends on yourself."[Note 5][6]

Concept and production

Background

"Fisherman" is an image advertisement by HSBC, first aired in 1995.[1] During this period, HSBC's corporate slogan in Hong Kong was "與你並肩，邁向明天" (English version: "Your Future Is Our Future"). HSBC had already used this slogan when it launched the "Old Couple" advertisement in 1994.[Note 6][7] The "Old Couple" and "Fisherman", as well as the subsequent series of image advertisements, all followed a humanistic route. Prior to this, HSBC's advertisements tended to project a middle-class professional image. The shift in advertising style began because HSBC regularly conducted market research and noticed that humanistic advertisements received better responses. At that time, there were many advertisements selling nostalgia, love, or family affection.[8][9] On the other hand, due to the approaching "1997 deadline", starting around 1993, some advertisements exploring Hong Kong identity began to emerge. "Fisherman" and its series were conceived against this background.[10][11]

It has also been suggested that HSBC, which was mainly British capital, planned to relocate its headquarters back to the United Kingdom in response to the 1997 handover of Hong Kong's sovereignty. This move drew strong criticism from Hong Kong society, so there was an urgent need to reshape a localized image.[12]

Creation

The advertising agency responsible for this advertisement was Ted Bates (Hong Kong) (Bates Hong Kong Limited). The main members of the creative and production team included creative director David Alberts, art director Rachel Chau (周珮如), producer Rowena Chu (朱小亞), director Louis Ng (吳鋒濠), cinematographer Lester Wong, editor Nelson Ng (吳鋒霖). The copy was written by Angela Pong (龐婉貴) and David Alberts, and the music was credited to Chan Ming-Cheung.[Note 7][13][2]

According to recollections from Rachel Chau and Angela Pong, the central idea set before conceptualization was "nothing will get into the way of Hong Kong people's success" (沒有東西能阻止香港人走上成功之路).[14][15] Combined with HSBC's slogan "Your Future Is Our Future", the team came up with the concept of using ordinary people's experiences to witness Hong Kong's success, leading to the idea that "persisting in the Hong Kong spirit, tomorrow will definitely be fine". In the end, three different stories were created to represent Hong Kong people of different eras and social classes, including this "Fisherman" which symbolizes Hong Kong's development from a fishing village, the "Three Generations" (also known as "Grandfather and Grandson")[3] about a grandfather who returned from San Francisco to develop in Hong Kong, a taxi driver father who witnessed Hong Kong's economic ups and downs, and a son who chose not to emigrate, and "Factory Owner" (also known as "Daughter")[3][16][15][17] about a daughter recalling her factory owner father's transformation history. Among them, "Fisherman" was the most popular[15][18] and is regarded as a representative work of Hong Kong identity exploration at that time.[19]

Style

This advertisement was shot in a style imitating a black-and-white documentary, with a strong sense of realism.[20][8]

Advertising practitioner and university tutor KC Tsang and designer Liu Kunyou pointed out in their co-authored work[20] that although HSBC is a well-known big brand, this advertisement still follows the "grand narrative" that rose in the 1980s (another advertising practitioner Elaine Chow described it as "epic"),[11] but it is cut from the perspective of ordinary people, seeing the big from the small.

Hokkien people are one of the main ethnic groups of traditional fishermen in Hong Kong. The production team originally wanted the fisherman to monologue in Southern Min, but the client opposed it, believing that the audience should be able to understand it directly. In the end, in the version aired on Chinese television channels, the fisherman monologued in Cantonese with a slight accent. The English subtitle version of this advertisement uses Hokkien monologue.[13]

Reception

Advertising techniques

Marketing scholars Chen Yi and others from Southwestern University of Finance and Economics in the People's Republic of China rated this advertisement as a classic case of corporate identity advertising strategy in their co-authored work. It shapes the image of HSBC, with a history of more than a century, sharing joys and sorrows with Hong Kong people and progressing and growing together.[21]

The book Foreign Contemporary Advertising Analysis 150 Cases published by China Radio and Television Publishing House believes that only HSBC, with such a long history in Hong Kong, matches the Hong Kong people's qualities and history in the advertisement, which is a successful application of the "Unique selling proposition".[3][Note 8]

Cultural and political relevance

Hong Kong cultural scholars Ma Kit Wai and Tsang provided a detailed analysis of this advertisement in their co-authored work. They summarized the content and style of the advertisement as: "The aesthetics of this advertisement simulate the style of a serious documentary, with thoughtful narration, carefully collaged historical images, and through the eyes of a fisherman, re-segment and reassemble the Hong Kong experience in just one minute. The advertisement uses black-and-white film form, through concise images, stories and characters, to reshape the history of Hong Kong over the past decades with feeling."[22]

Other insights from Ma and Tsang include:

First, as the main bank in Hong Kong that developed under the shelter of the British Hong Kong government, HSBC launched this nostalgic advertisement before the 1997 handover of Hong Kong's sovereignty. Whether for the producers or the audience, it reflects a strong desire for a smooth transition.[23]

Second, this advertisement's imitation of documentary techniques is similar to the documentaries produced by the Hong Kong government film unit established in the 1960s. Some of the footage used in the advertisement also comes from those documentaries. The Hong Kong government film unit was a propaganda agency that introduced the methods of documentary master John Grierson.[24] On the surface, it is realistic and without political rendering, but secretly it cleverly guides ideology. Regarding the ideology symbolized by this advertisement, they pointed out that Hong Kong has always been described as a very pure capitalist society, and the Hong Kong spirit promoted in this advertisement has a strong capitalist consciousness, emphasizing individuals' unyielding efforts to overcome difficulties in adversity, while avoiding talking about the role of government, demands for social security, folk collective actions and other aspects.[25] Another scholar Benson Wong also summarized and agreed with this view.[26] Another scholar Lam Kam-yee has similar views. He cited examples avoided in discussion such as the British Hong Kong government's long-term use of large ships to transport drinking water from abroad to supply British people in Hong Kong during the 1960s water rationing period, and the Yau Ma Tei boat dwellers incident in the late 1970s where fishermen fought for rights.[6]

Third, the production team's proposal for Hokkien was opposed, reflecting the "domestication" of minority ethnic accents.[27]

Fourth, during the British colonial era, Hong Kong long lacked national consciousness and had no way to position its history, which instead gave media creators more impulse to fill this gap through nostalgic commercial advertisements and other works. They summarized the value of this advertisement as: "The advertisement appeared in a special social mutation, satisfying the social desire for shared nostalgia, and reconciling the contradictions between national concepts, local identity, and transnational capitalism. Due to various seemingly irreconcilable conflicts and the undercurrents of strong political and economic pressure, it intensified Hong Kong people's nostalgic desire, and also made this smooth and natural nostalgic advertisement more fascinating."[28]

Awards and nominations

Advertisement name Award year Award ceremony Award Result
Fisherman 1996 Association of Accredited Advertising Agents of Hong Kong

Kam Fan Awards

 Best TV/Cinema Commercial – Telecommunications/Media/Corporate Category[13] Gold
Best Director[29] Silver
Best Cinematography[30] Silver
Best Chinese Copywriter[31] Silver
Best Editing[32] Bronze
Fisherman,
Grandson (i.e. "Three Generations"),
Daughter (i.e. "Factory Owner")		 Best TV/Cinema Advertising Series[33] Gold
漁民 Asia Television 2nd Top Ten Television Advertisements Awards Top Ten Most Popular Television Advertisements[34] Won

It is also recorded that this advertisement won the "1996 Asia's Most Creative Advertisement" and the "World Chinese Advertisement" Gold Award.[3][21][Note 9]

Notes

  1. ↑ The advertisement does not have a standardized name or an official name that has been passed down through the ages; this entry uses the term "fishermen" (漁民), though other sources refer to them as 渔夫.
  2. ↑ Original: “我阿爺話，捉魚搵食嘅，要睇天做人。我話呢，做人都要睇自己嘅。”
  3. ↑ Original: “我同自己講，人無事，有乜唔可以從頭嚟過？”
  4. ↑ Original: “跟住？六一八水災。唉！個天真係......不過無事嘅，做咗幾廿年人，有咩風雨未見過呀？”
  5. ↑ Original: “做咩都無所謂啦！香港地，搵唔搵到食，都係睇自己嘅啫。”
  6. ↑ It tells the story of how an elderly couple met. The line, “I don’t like the noodles you cook; I just want to see you more often,” (“我唔係鍾意食你煮嘅麵呀，我係想見多你幾面㗎咋”) has become a classic line. It was performed by the married couple Xu Fen and Jian Ruichao, though it is not based on their real-life experiences.
  7. ↑ Chan Ming-Cheung, also known as Taiwanese musician Chen Ming-chang, composed the background music for this advertisement. It is actually the track "Rain" from the soundtrack he created in 1986 for the film Dust in the Wind.
  8. ↑ This book mentions another advertising slogan: “Grass that bends in the wind grows stronger when faced with adversity.” However, as this phrase could not be found in primary sources or film footage, its authenticity remains in doubt.
  9. ↑ Due to the passage of time, no official record of the award could be found.

References

  1. 1 2 3 曾錦程 & 劉昆祐 2018, pp. 184–191.
  2. 1 2 龍吟榜雜誌社 (2002). Yúmín piān. Lóng yín bǎng jīngcuì (1) zhī jīnróng bǎoxiǎn fángdìchǎn guǎnggào 漁民篇. 龍吟榜精粹(1)之金融保險房地產廣告 [Fishermen's Edition. Dragon's Roar List Highlights (1): Financial Insurance and Real Estate Advertisements] (in Chinese). 中國物價. pp. 20–21. ISBN 7-80155-453-1.
  3. 1 2 3 4 5 白光 (2003). Huìfēng yínháng guǎnggào. Wàiguó dāngdài guǎnggào píngxī 150 lì 匯豐銀行廣告。外國當代廣告評論分析150例 [HSBC Advertising. 150 Examples of Contemporary Foreign Advertising Analysis] (in Chinese). 中國廣播電視. pp. 298–301. ISBN 7-5043-4080-4.
  4. ↑ 曾錦程 & 劉昆祐 2018, pp. 189–191.
  5. ↑ 馬杰偉 & 曾仲堅 2010, pp. 99–102.
  6. 1 2 罗金义. "Yuèdú xiānggǎng pǔjí wénhuà 1970–2000" 閱讀香港普及文化1970-2000 [Reading Hong Kong Popular Culture 1970–2000]. In 吳俊雄; 张志伟 (eds.). Méiyǒu jiùshìzhǔ'de dàodé zhìxù cóng huìfēng yínháng de diànshì guǎnggào tán qǐ 「沒有救世主」的道德秩序 從匯豐銀行的電視廣告談起 [The Moral Order Without a Savior: A Discussion Starting with HSBC's Television Advertisement] (in Chinese) (2002年修訂版 ed.). 牛津大学出版社. pp. 143–145. ISBN 978-0-19-593753-4.
  7. ↑ 蔡漫虹 (1995-04-25). Méiyǒu xiānhuā, yě méiyǒu zuànjiè yījù wǒ liǎ cóngcǐ hé dìng bàozhǐ xǔ fēn ā jiǎn qíng qiān sìshí niántóu 沒有鮮花,也沒有鑽戒 一句我倆從此合訂報紙 許芬阿簡情牽四十年頭. [No flowers, no diamond ring, just the simple phrase "Let's subscribe to the newspaper together from now on"—Xu Fen and A Jian's love has lasted for forty years] (in Chinese). 新報人. Archived from the original on 2024-08-03.
  8. 1 2 馬杰偉 & 曾仲堅 2010, p. 105.
  9. ↑ 陳綺娜; 古慧賢 (1995). "Zhōng yǒu yītiān gǎndòng nǐ.... Dàxué xiàn yuèkān" 終有一天感動你.... 大學線月刊 [One day I'll move you.... University Line Monthly]. 香港中文大学新聞與傳播學院 (in Chinese).
  10. ↑ 曾錦程 & 劉昆祐 2018, pp. 184–185.
  11. 1 2 "Xiānggǎng guǎnggào chuàngzuò rén bì míng: Tòuguò guǎnggào wénhuà jìyì xiānggǎng shídài chuàngyì" 香港廣告創作人畢明：透過廣告文化 記憶香港時代創意. [Elaine Chow, a Hong Kong advertising creative: Remembering Hong Kong's era of creativity through advertising culture]. VERSE雜誌 (in Chinese). 2021-12-01. Archived from the original on 2022-01-29.
  12. ↑ 馬杰偉 & 曾仲堅 2010, pp. 114–115.
  13. 1 2 3 "Kam Fan Archive – Detail 665". Kam Fan Awards (in Chinese). Retrieved 2026-04-02.
  14. ↑ 曾錦程 & 劉昆祐 2018, p. 187.
  15. 1 2 3 劉文英; 創作人有隻鷹——周佩如 (2020). "Xiǎngchuàngfǎng——xiānggǎng guǎnggào de chuàngyì quánshì" 想・創・訪——香港廣告的創意詮釋. [Imagine, Create, Explore: Creative Interpretations of Hong Kong Advertising] (in Chinese). 香港公開大學. ISBN 978-988-8439-66-9. Retrieved 2026-04-02.{{cite web}}: CS1 maint: periodical has ISBN (link)
  16. ↑ 曾錦程 & 劉昆祐 2018, pp. 187–188.
  17. ↑ 伍麗微 (2018-10-19). "[Shīzǐ shān jīngshén. Liù] shīzǐ shānxià hán pǔ shì jiàzhí xuézhě yù wù jiǎnhuà jīngshén |01 zhōubào" 【獅子山精神．六】獅子山下含普世價值 學者籲勿簡化精神｜01周報. [[The Spirit of Lion Rock, Part 6] Universal Values Lie Beneath Lion Rock: Scholars Urge Against Simplifying the Spirit. Weekly Report 01]. HK01 (in Chinese).
  18. ↑ 梁麗娟 (2012). 大眾傳播與社會的關係. Liberal系列：媒介之都 大眾傳播與社會的關係. Liberal系列：媒介之都 [The Relationship Between Mass Communication and Society. Liberal Series: The Media Capital] (in Chinese). 香港教育圖書. ISBN 9789888121830.
  19. ↑ 曾錦程 & 劉昆祐 2018, p. 185.
  20. 1 2 曾錦程 & 劉昆祐 2018, p. 186.
  21. 1 2 陈乙 (2014). Guǎnggào yuánlǐ yǔ cèhuà 廣告原理與策劃 [Advertising Principles and Planning] (in Chinese). 元華文創. pp. 135–136. ISBN 978-986-5650-20-9.
  22. ↑ 馬杰偉 & 曾仲堅 2010, p. 99.
  23. ↑ 馬杰偉 & 曾仲堅 2010, p. 102.
  24. ↑ 馬杰偉 & 曾仲堅 2010, pp. 105–106.
  25. ↑ 馬杰偉 & 曾仲堅 2010, pp. 109–111.
  26. ↑ Wong, Benson (2008-12-02). "Xiānggǎng jiù zhìxù lǐ bēng lè huài jījìn zhèngzhì táitóu" 香港舊秩序禮崩樂壞 激進政治抬頭 [The old order in Hong Kong is collapsing and radical politics is on the rise]. BBC Chinese.
  27. ↑ 馬杰偉 & 曾仲堅 2010, p. 113.
  28. ↑ 馬杰偉 & 曾仲堅 2010, pp. 118–120 .
  29. ↑ "Kam Fan Archive – Detail 667". Kam Fan Awards. Retrieved 2026-04-03.
  30. ↑ "Kam Fan Archive – Detail 668". Kam Fan Awards. Retrieved 2026-04-03.
  31. ↑ "Kam Fan Archive – Detail 666". Kam Fan Awards. Archived from the original on 2022-11-01. Retrieved 2026-04-03.
  32. ↑ "Kam Fan Archive – Detail 669". Kam Fan Awards. Retrieved 2026-04-03.
  33. ↑ "Kam Fan Archive – Detail 675". Kam Fan Awards. Retrieved 2026-04-03.
  34. ↑ 曾, 錦程; 刘, 昆祐 (2018). "Yàzhōu diànshì shí dà diànshì guǎnggào bānjiǎng diǎnlǐ míngdān" 亞洲電視十大電視廣告頒獎典禮名單 [List of Asia's Top Ten TV Commercials Awards Ceremony]. 我地廣告. ISBN 9789888488278.{{cite journal}}: CS1 maint: periodical has ISBN (link)

Other references

  • 曾錦程; 劉昆祐 (2018). Huìfēng yínháng: Xiānggǎng lìshǐ xiānggǎng jīngshén. Wǒ dì guǎnggào 滙豐銀行：香港歷史 香港精神. 我地廣告 [HSBC: Hong Kong History, Hong Kong Spirit. (Our Advertisement] (in Chinese). pp. 184–191. ISBN 978-988-8488-27-8.
  • 馬杰偉; 曾仲堅 (2010). Dì èr bù fèn dì 18 jié “yúfū guǎnggào: Shèhuì biànqiān yǔ xúngēn huáijiù” jí qí hòu fēnxī zhāngjié. Yǐngshì xiānggǎng: Shēnfèn rèntóng de shídài biànzòu 第二部份第18節《漁夫廣告：社會變遷與尋根懷舊 》及其後分析章節. 影視香港：身份認同的時代變奏 [Part Two, Section 18, "Fisherman's Advertisement: Social Change and Nostalgia," and subsequent analytical chapters. Hong Kong Cinema: The Evolution of Identity in Different Eras.] (in Chinese). 香港中文大学香港亚太研究所. ISBN 978-962-441-586-5.
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