Introduction of Hong Kong Film History

「香港電影史導論 Podcast第五集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第五集「香港電影在1960年代的變遷」


討論大網：

1960年代的香港影業基本上延續1950年代，主要的導演和編劇都是1950年代初已入行的一批，創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面，類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影，也有關心下一代會否學壞的青春片，並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面，經濟成長也造就一種追求個性解放的心態，造就了張徹以陽剛為號召的武俠片，從而把香港電影以至中國電影的女明星主導的傳統徹底改變。


在這第五集的podcast， 我們一共分開三節，每節的主題如下：

5.1  60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。

5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影，另外我們也重點討論了楚原和龍剛的電影

5.3 60年代電影產業的一些特有現象，以及六七暴動和無線電視廣播對香港電影的影響，及至最後香港粵語片停產的原因。


Outline of Introduction to Hong Kong Film Industry Podcast Part 5

About this series of podcasts, please check here.

Episode 5: “Changes in Hong Kong Cinema in the 1960s”

The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time. 

However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity. 

For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases. 

As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema. 

In this fifth episode of the podcast, we have three segments, each focusing on the following topics;

5.1 The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.

5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.

5.3 Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.

******************
Follow the hosts:

Kay Ho's Instagram: @kayho1430

Po Fung's Facebook: https://www.facebook.com/flash1030/



This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which was a collaboration with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.

---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving


Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

「香港電影史導論 Podcast第五集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第五集「香港電影在1960年代的變遷」


討論大網：

1960年代的香港影業基本上延續1950年代，主要的導演和編劇都是1950年代初已入行的一批，創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面，類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影，也有關心下一代會否學壞的青春片，並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面，經濟成長也造就一種追求個性解放的心態，造就了張徹以陽剛為號召的武俠片，從而把香港電影以至中國電影的女明星主導的傳統徹底改變。


在這第五集的podcast， 我們一共分開三節，每節的主題如下：

5.1  60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。

5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影，另外我們也重點討論了楚原和龍剛的電影

5.3 60年代電影產業的一些特有現象，以及六七暴動和無線電視廣播對香港電影的影響，及至最後香港粵語片停產的原因。


Outline of Introduction to Hong Kong Film Industry Podcast Part 5

About this series of podcasts, please check here.

Episode 5: “Changes in Hong Kong Cinema in the 1960s”

The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time. 

However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity. 

For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases. 

As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema. 

In this fifth episode of the podcast, we have three segments, each focusing on the following topics;

5.1 The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.

5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.

5.3 Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.

******************
Follow the hosts:

Kay Ho's Instagram: @kayho1430

Po Fung's Facebook: https://www.facebook.com/flash1030/



This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which was a collaboration with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.

---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving


Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

「香港電影史導論 Podcast第五集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第五集「香港電影在1960年代的變遷」


討論大網：

1960年代的香港影業基本上延續1950年代，主要的導演和編劇都是1950年代初已入行的一批，創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面，類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影，也有關心下一代會否學壞的青春片，並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面，經濟成長也造就一種追求個性解放的心態，造就了張徹以陽剛為號召的武俠片，從而把香港電影以至中國電影的女明星主導的傳統徹底改變。


在這第五集的podcast， 我們一共分開三節，每節的主題如下：

5.1  60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。

5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影，另外我們也重點討論了楚原和龍剛的電影

5.3 60年代電影產業的一些特有現象，以及六七暴動和無線電視廣播對香港電影的影響，及至最後香港粵語片停產的原因。


Outline of Introduction to Hong Kong Film Industry Podcast Part 5

About this series of podcasts, please check here.

Episode 5: “Changes in Hong Kong Cinema in the 1960s”

The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time. 

However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity. 

For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases. 

As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema. 

In this fifth episode of the podcast, we have three segments, each focusing on the following topics;

5.1 The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.

5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.

5.3 Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.

******************
Follow the hosts:

Kay Ho's Instagram: @kayho1430

Po Fung's Facebook: https://www.facebook.com/flash1030/



This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which was a collaboration with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.

---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving


Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

「香港電影史導論 Podcast第四集」討論大網

有關這系列的Podcast, 詳情請看這裡。

第四集「國語影業的邅遞—由左右對立到邵氏電懋的兩強競爭」

在這第四集的podcast， 我們一共分開兩節，每節的主題如下：
4.1 電懋的興衰
4.2 邵氏的興起

討論大網：

1950年代香港的國語片影業左右對立壁壘分明。左派公司有受中共領導的長城、鳳凰公司。右派既有較重意形態的公司像新華和亞洲，也有要進入台灣市場而親台的邵氏和電懋。雖然在政治立場上對立，但兩派影片有很長一段時間都不顯示太過強烈的政治意識，拍的都是以娛樂為主的商業片。國語片漸由財雄勢大的星馬資金公司電懋和邵氏顯出明顯優勢。電懋以摩登色彩的時裝電影領風騷。邵氏起初處於劣勢，後來邵逸夫由星加坡帶來大筆資金，興建影城，拍彩色片，提升製作質素，先後創下黃梅調及武俠片的兩大潮流，到1960年代後期不單在國語片一枝獨秀，甚且粵語片市場也受到相當衝擊和影響。

⭐4.2 邵氏的興起⭐

1. 邵氏集團的源起之路？
2. 不是太多人提及的邵氏粵語片組，早期有那些重要粵語明星？有那些重要的粵語電影？
3. 林鳳早期時被戲稱為「作狀王」？為什麼呢？
4. 邵氏是從什麼時候開始大展鴻圖呢？
5. 邵氏擁有強勁的硬件（影城、資本、市場），大大提高了港片的制作的水準，可惜創作力薄弱，他們又是用什麼方法來彌補這個不足呢？
6. 邵氏電影的特色是什麼呢？所塑造的是一個怎樣的理想世界呢？
7. 李翰祥是邵氏的開山人物，為何最後會離開邵氏呢？

Outline of Introduction to Hong Kong Film Industry Podcast Part 4
About this series of podcasts, please check here. 

Part 4: Left-Right Opposition and the Competition of the Two Titans

In this fourth episode of the podcast, we have two segments, each focusing on the following topics;
4.1 The Rise and Fall of MP & GI
4.2 The Rise of Shaw Bros

 Outline:

Mandarin Film Industry’s Progress: From Left and Right Opposition to the Competition of Industry Titans “Shaw Bros” and “MP & GI”
In the 1950s, Hong Kong’s Mandarin Film Industry’s right and left parties became increasingly diametrically opposed. Leftist companies like the “Great Wall Movie Enterprise” and “Phoenix Motion Enterprise” received support from the leaders of the Chinese Communist Party. While companies that appeared more rightist included “Hsin Hwa Motion Pictures” and “Asia Film Company.” Amongst them were companies that sought to enter and endear themselves to the Taiwanese market, including the “Shaw Bross” and “MP & GI” (also known as Cathay Organization). 

Although their political stances were seemingly oppositional, both sides had for a long period where few films openly displayed any political messages-- most movies filmed were commercial features focused foremost on entertainment. 

The superiority of Mandarin films gradually became clear through the abundant wealth and influence of Singaporean and Malaysian capital put into companies like “MP & GI” and “Shaw Brothers.” 

“MP & GI” use of modern and fashionable films were heavily praised. “Shaw Bros,” on the other hand, was at first less favorably received. Run Run Shaw later acquired a large amount of Singaporean capital to build theaters, produce colored films, raise the manufacturing quality of the industry, and successively established Huangmei Opera and Wuxia as two of the largest film trends. 

By the 1960s, these companies were superior within the Mandarin Film Market, and their impact and influence could also be seen in the Cantonese Film Market. 

⭐4.2：The Rise of Shaw Bros⭐

In the fourth episode, the second section, we primarily discussed:

1. What was the origin of the Shaw Bros Group?
2. Regarding the Shaw Bros Cantonese film division, which important Cantonese-speaking stars were active in its early days? What were the significant Cantonese-language films?
3. Why was Patricia Lam Fung jokingly called the "Queen of Gestures" early on?
4. When did Shaw Bros. begin to make significant strides?
5. Shaw Bros possessed a robust infrastructure (film studios, capital, market), significantly elevating the production quality of Hong Kong cinema. Unfortunately, they had weak creative capacity. How did they address this deficiency?
6. What were the distinctive features of the Shaw Bros' films? What kind of ideal world did they portray?
7. Li Han-Hsiang was a pivotal figure at Shaw Bros. Why did he eventually leave the studio?

Follow the hosts:

Kay Ho's Instagram: @kayho1430

Po Fung's Facebook: https://www.facebook.com/flash1030/



This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.

---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving

「香港電影史導論 Podcast第四集」討論大網

有關這系列的Podcast, 詳情請看這裡。

第四集「國語影業的邅遞—由左右對立到邵氏電懋的兩強競爭」

在這第四集的podcast， 我們一共分開兩節，每節的主題如下：
4.1 電懋的興衰
4.2 邵氏的興起

討論大網：

1950年代香港的國語片影業左右對立壁壘分明。左派公司有受中共領導的長城、鳳凰公司。右派既有較重意形態的公司像新華和亞洲，也有要進入台灣市場而親台的邵氏和電懋。雖然在政治立場上對立，但兩派影片有很長一段時間都不顯示太過強烈的政治意識，拍的都是以娛樂為主的商業片。國語片漸由財雄勢大的星馬資金公司電懋和邵氏顯出明顯優勢。電懋以摩登色彩的時裝電影領風騷。邵氏起初處於劣勢，後來邵逸夫由星加坡帶來大筆資金，興建影城，拍彩色片，提升製作質素，先後創下黃梅調及武俠片的兩大潮流，到1960年代後期不單在國語片一枝獨秀，甚且粵語片市場也受到相當衝擊和影響。

4.1 電懋的興衰

1. 電懋是怎樣興起？
2. 主事人陸運濤是什麼人呢？
3. 電懋的電影有什麼特色？
4. 電懋最好的電影是那一部？
5. 電懋為何衰落？
6. 有什麼明星？
7. 電懋有那幾位重要的電影人？
8. 有什麼推薦的電影？

Outline of Introduction to Hong Kong Film Industry Podcast Part 4
About this series of podcasts, please check here. 

Part 4: Left-Right Opposition and the Competition of the Two Titans

In this fourth episode of the podcast, we have two segments, each focusing on the following topics;
4.1 The Rise and Fall of MP & GI
4.2 The Rise of Shaw Bros

 Outline:

Mandarin Film Industry’s Progress: From Left and Right Opposition to the Competition of Industry Titans “Shaw Bros” and “MP & GI”
In the 1950s, Hong Kong’s Mandarin Film Industry’s right and left parties became increasingly diametrically opposed. Leftist companies like the “Great Wall Movie Enterprise” and “Phoenix Motion Enterprise” received support from the leaders of the Chinese Communist Party. While companies that appeared more rightist included “Hsin Hwa Motion Pictures” and “Asia Film Company.” Amongst them were companies that sought to enter and endear themselves to the Taiwanese market, including the “Shaw Bross” and “MP & GI” (also known as Cathay Organization). 

Although their political stances were seemingly oppositional, both sides had for a long period where few films openly displayed any political messages-- most movies filmed were commercial features focused foremost on entertainment. 

The superiority of Mandarin films gradually became clear through the abundant wealth and influence of Singaporean and Malaysian capital put into companies like “MP & GI” and “Shaw Brothers.” 

“MP & GI” use of modern and fashionable films were heavily praised. “Shaw Bros,” on the other hand, was at first less favorably received. Run Run Shaw later acquired a large amount of Singaporean capital to build theaters, produce colored films, raise the manufacturing quality of the industry, and successively established Huangmei Opera and Wuxia as two of the largest film trends. 

By the 1960s, these companies were superior within the Mandarin Film Market, and their impact and influence could also be seen in the Cantonese Film Market. 

4.1 Rise and Fall of MP & GI

In the fourth episode, the first section, we mainly discussed:

1. How did MP & GI rise to prominence?
2. Who is the key figure, Loke Wan Tho?
3. What are the distinctive features of MP & GImovies?
4. Which is the best movie produced by MP & GI?
5. Why did MP & GI decline?
6. Are there any notable celebrities involved?
7. Who are the important figures in the MP & GI film industry?
8. Any recommended movies?

Follow the hosts:

Kay Ho's Instagram: @kayho1430

Po Fung's Facebook: https://www.facebook.com/flash1030/



This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.

---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving

「香港電影史導論 Podcast第三集」討論大網



有關這系列的Podcast, 詳情請看這裡。

第三集：「中聯作為電影運動對粵語片的變革作用」



在這第三集的podcast， 我們一共分開五節，每節的主題如下：

1. 廈語片／ 潮語片的發展和特色 (Ep. 29)；
2. 中聯影業成立的原因和創作理念 (Ep. 30)；
3. 中聯的發展和其代表作 (Ep. 31)；
4. 中聯的影響和著名明星 (Ep. 32)；
5. 中聯如何令粵語戲曲片誕生(Ep. 33)。

討論大網：



香港影業除了政治的左右對壘，還有國粵語兩個相對獨的影壇，各有其特色和發展。其實香港除了有國粵語片之外，還有鮮為人知的廈語片及潮語片生產，出口多個東南亞有華僑的國家，其文化影響力遠比一般人所知為廣。

戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司，但它實際上是一個左派電影運動，用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠，除了衍生出多家理念上類似的影片公司，它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流，都有著重大貢獻，即使到六十年代後期中聯結束後，其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜，它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。





Outline of Introduction to Hong Kong Film Industry Podcast Part 3



About this series of podcasts, please check here. 



 Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films



In this third episode of the podcast, we have five segments, each focusing on the following topics;

1. The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);
2. The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);
3. The growth of Union and its representative works (Ep. 31);
4. The influence of Union and its famous stars (Ep. 32);
5. How Union contributed to the birth of Cantonese opera films (Ep. 33).

Episodes Outline:

Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.



One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s. 





Follow the hosts:

Kay Ho's Instagram: @kayho1430

Po Fung's Facebook: https://www.facebook.com/flash1030/



This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.



---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving

Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

「香港電影史導論 Podcast第三集」討論大網



有關這系列的Podcast, 詳情請看這裡。

第三集：「中聯作為電影運動對粵語片的變革作用」



在這第三集的podcast， 我們一共分開五節，每節的主題如下：

1. 廈語片／ 潮語片的發展和特色 (Ep. 29)；
2. 中聯影業成立的原因和創作理念 (Ep. 30)；
3. 中聯的發展和其代表作 (Ep. 31)；
4. 中聯的影響和著名明星 (Ep. 32)；
5. 中聯如何令粵語戲曲片誕生(Ep. 33)。

討論大網：



香港影業除了政治的左右對壘，還有國粵語兩個相對獨的影壇，各有其特色和發展。其實香港除了有國粵語片之外，還有鮮為人知的廈語片及潮語片生產，出口多個東南亞有華僑的國家，其文化影響力遠比一般人所知為廣。

戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司，但它實際上是一個左派電影運動，用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠，除了衍生出多家理念上類似的影片公司，它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流，都有著重大貢獻，即使到六十年代後期中聯結束後，其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜，它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。





Outline of Introduction to Hong Kong Film Industry Podcast Part 3



About this series of podcasts, please check here. 



 Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films



In this third episode of the podcast, we have five segments, each focusing on the following topics;

1. The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);
2. The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);
3. The growth of Union and its representative works (Ep. 31);
4. The influence of Union and its famous stars (Ep. 32);
5. How Union contributed to the birth of Cantonese opera films (Ep. 33).

Episodes Outline:

Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.



One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s. 





Follow the hosts:

Kay Ho's Instagram: @kayho1430

Po Fung's Facebook: https://www.facebook.com/flash1030/



This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.



---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving

Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

「香港電影史導論 Podcast第三集」討論大網



有關這系列的Podcast, 詳情請看這裡。



第三集：「中聯作為電影運動對粵語片的變革作用」



在這第三集的podcast， 我們一共分開五節，每節的主題如下：

1. 廈語片／ 潮語片的發展和特色 (Ep. 29)；
2. 中聯影業成立的原因和創作理念 (Ep. 30)；
3. 中聯的發展和其代表作 (Ep. 31)；
4. 中聯的影響和著名明星 (Ep. 32)；
5. 中聯如何令粵語戲曲片誕生(Ep. 33)。

討論大網：



香港影業除了政治的左右對壘，還有國粵語兩個相對獨的影壇，各有其特色和發展。其實香港除了有國粵語片之外，還有鮮為人知的廈語片及潮語片生產，出口多個東南亞有華僑的國家，其文化影響力遠比一般人所知為廣。

戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司，但它實際上是一個左派電影運動，用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠，除了衍生出多家理念上類似的影片公司，它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流，都有著重大貢獻，即使到六十年代後期中聯結束後，其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜，它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。





Outline of Introduction to Hong Kong Film Industry Podcast Part 3



About this series of podcasts, please check here. 



 Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films



In this third episode of the podcast, we have five segments, each focusing on the following topics;

1. The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);
2. The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);
3. The growth of Union and its representative works (Ep. 31);
4. The influence of Union and its famous stars (Ep. 32);
5. How Union contributed to the birth of Cantonese opera films (Ep. 33).

Episodes Outline:

Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.



One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s. 





Follow the hosts:

Kay Ho's Instagram: @kayho1430

Po Fung's Facebook: https://www.facebook.com/flash1030/



This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.



---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving

Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

「香港電影史導論 Podcast第三集」討論大網



有關這系列的Podcast, 詳情請看這裡。



第三集：「中聯作為電影運動對粵語片的變革作用」



在這第三集的podcast， 我們一共分開五節，每節的主題如下：

1. 廈語片／ 潮語片的發展和特色 (Ep. 29)；
2. 中聯影業成立的原因和創作理念 (Ep. 30)；
3. 中聯的發展和其代表作 (Ep. 31)；
4. 中聯的影響和著名明星 (Ep. 32)；
5. 中聯如何令粵語戲曲片誕生(Ep. 33)。

討論大網：



香港影業除了政治的左右對壘，還有國粵語兩個相對獨的影壇，各有其特色和發展。其實香港除了有國粵語片之外，還有鮮為人知的廈語片及潮語片生產，出口多個東南亞有華僑的國家，其文化影響力遠比一般人所知為廣。

戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司，但它實際上是一個左派電影運動，用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠，除了衍生出多家理念上類似的影片公司，它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流，都有著重大貢獻，即使到六十年代後期中聯結束後，其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜，它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。





Outline of Introduction to Hong Kong Film Industry Podcast Part 3



About this series of podcasts, please check here. 



 Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films



In this third episode of the podcast, we have five segments, each focusing on the following topics;

1. The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);
2. The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);
3. The growth of Union and its representative works (Ep. 31);
4. The influence of Union and its famous stars (Ep. 32);
5. How Union contributed to the birth of Cantonese opera films (Ep. 33).

Episodes Outline:

Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.



One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s. 





Follow the hosts:

Kay Ho's Instagram: @kayho1430

Po Fung's Facebook: https://www.facebook.com/flash1030/



This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.



---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving

Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

「香港電影史導論 Podcast第三集」討論大網

有關這系列的Podcast, 詳情請看這裡。

第三集：「中聯作為電影運動對粵語片的變革作用」

在這第三集的podcast， 我們一共分開五節，每節的主題如下：

1. 廈語片／ 潮語片的發展和特色 (Ep. 29)；
2. 中聯影業成立的原因和創作理念 (Ep. 30)；
3. 中聯的發展和其代表作 (Ep. 31)；
4. 中聯的影響和著名明星 (Ep. 32)；
5. 中聯如何令粵語戲曲片誕生(Ep. 33)。

討論大網：

香港影業除了政治的左右對壘，還有國粵語兩個相對獨的影壇，各有其特色和發展。其實香港除了有國粵語片之外，還有鮮為人知的廈語片及潮語片生產，出口多個東南亞有華僑的國家，其文化影響力遠比一般人所知為廣。
戰後粵語影壇的最大一件事情是中聯公司的成立。中聯雖是一家電影公司，但它實際上是一個左派電影運動，用以實踐一種由公司組織、意識形態和風格都高度統一的左派電影美學觀念。它對粵語片的影響非常深遠，除了衍生出多家理念上類似的影片公司，它對粵語片製作水平的提升、戲劇觀念的重視以及文藝片之成為類型主流，都有著重大貢獻，即使到六十年代後期中聯結束後，其影響仍然餘波未了。尤為特別的是它雖以「伶星分家」作標榜，它對粵語歌唱片轉化成戲曲片起著關鍵作用。了解中聯是理解1950-1960年代粵語片之鑰。


Outline of Introduction to Hong Kong Film Industry Podcast Part 3

About this series of podcasts, please check here.

Part 3 The transformative role of Union Film Enterprises Ltd. in the formation of Cantonese films

In this third episode of the podcast, we have five segments, each focusing on the following topics;

1. The development and characteristics of lesser-known films in Hokkien and Teochew dialects (Ep. 29);
2. The reasons for the establishment of Union Film Enterprises (Union) (中聯影業) and its creative philosophy (Ep. 30);
3. The growth of Union and its representative works (Ep. 31);
4. The influence of Union and its famous stars (Ep. 32);
5. How Union contributed to the birth of Cantonese opera films (Ep. 33).

Episodes Outline:
Besides the political divide between left and right in the industry, Cantonese and Mandarin films gradually garnered traction and became two distinct and independent film markets. In addition to Mandarin and Cantonese films, Hong Kong was the production center of lesser-known films in the Hokkien and Teochew dialects. These films were exported to various Southeast Asian countries with Chinese diasporic communities. The cultural influence of Hong Kong’s film industry was far from what we commonly imagined.

One of the most significant achievements in the post-War Cantonese film industry was the establishment of the Union Film Enterprise Ltd (Union). Union was part of the leftist film movement despite being a film production company. It represented a filmmaking notion that attempted to unify the organizational structure, ideology, and aesthetic style of the company from a leftist perspective. As a result, it profoundly affected the production of Cantonese films in later eras. Beyond becoming the precursor of other film studios that shared similar ideological orientations, Union contributed significantly to improving the overall standard, emphasizing dramaturgical elements, and promoting arthouse films as a mainstream genre in Cantonese film production. Even after the demise of Union in the late 1960s, its impact was still evident in the industry. Specifically, while Union promoted the separation between Cantonese opera artists and pop movie stars, it nonetheless played a pivotal role in promoting the adaptation of Cantonese song records to opera films. Understanding the rise and fall of Union is the key to studying the development of Cantonese films during the 1950s to 1960s. 


Follow the hosts:
Kay Ho's Instagram: @kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/

This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.

---

The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.

Support the show: https://www.hkonscreen.org/giving


Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

Follow the hosts:
Kay Ho's Instagram: kayho1430
Po Fung's Facebook: https://www.facebook.com/flash1030/

This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.

---

The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.

Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

2009年香港政府曾大張旗鼓舉辦了多項慶祝香港電影100年的活動，最有意義也最反諷的一項活動是香港電影資料館在年底舉辦的一次學術研討會，因為有學者在會上提出有力證據，一百年之前的1909年那一年並沒有拍出第一部香港電影，第一部香港電影應該出現在1914年。第一部香港電影的討論是件既有趣也深具啟發性的歷史考據。出現了第一部電影並不等於會出現一個興旺的影業。香港能在1930年代發展出一個僅次於上海的華語電影影業，實受著中國政治、經濟、文化等因素強烈影響，其中邵氏兄弟又起著至今還未被足夠認真看待的重要作用。

The Hong Kong government commemorated the centenary of the Hong Kong cinematic industry with a range of activities in 2019. Perhaps the most significant yet ironic event was the academic symposium held by the Hong Kong Film Archive at the end of the year. In the symposium, a scholar presented concrete evidence to challenge the long-held consensus that the first Hong Kong film was produced in 1909. Instead, the scholar suggested the first film was produced five years later, in 1914. This discussion was an exciting and thought-provoking example of a scholarly endeavor in Hong Kong’s cinematic history. 

While the first film marked a milestone in Hong Kong history, it did not suggest the industry was vibrant during the initial stage. In the 1930s, Hong Kong finally established its Mandarin film industry, only second to Shanghai. Its development could be attributed to various factors, including Chinese politics, economy, and culture. In part, Shaw Brothers Studio, a local film production company, played an influential yet less-known role in the industry. 


This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which collaborated with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket.

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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.

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