Introduction of Hong Kong Film History

「香港電影史導論 Podcast第七集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第七集「無線電視廣播的衝擊及『香港地』『香港人』意識的明顯出現」


討論大網：

1967年無線電視開始，到1970年代電視成了深入民心的娛樂和資信媒介。其後原本有線廣播的麗的也轉為無線廣播。香港電影也受到電視冒起的直接影響。電視上成功的節目被改編成電影，電視也成了電影人材的培訓地，成功的電視人紛紛被引進電影圈。電視上的戲劇節目和新聞節目也建立了一個清晰的香港人身份認同。以粵語作廣播的電視甚至幫助香港電影由國語主導轉變成粵語主導。香港電影也在1970年代完成了世代交替，上一輩編導多在1970年代退下火線，在香港成長的新一代影人紛紛接棒，單以電影界出身的，吳思遠、洪金寶、吳宇森都開始建立他們穩固的導演地位。新一代影人之外還有新的類型，功夫片、警匪片、黑幫片、賭千片等過去沒有的類型也在1970年代成型。

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Outline of Introduction to Hong Kong Film Industry Podcast Part 7

About this series of podcasts, please check here.

Episode 7: “TVB’s Impact on the Emergence of ‘Hong Kong’ and the ‘Hong Konger’ Identity"

Television Broadcasting Limited (TVB) was founded in 1967 and had, by the 1970s, become a popular and influential entertainment and information program in Hong Kong. Even Hong Kong cinema was directly influenced by the rise of television. Television soon became a training ground for talent in the film industry: successful televisions were often adapted into movies, and it was common for successful television personnel to be introduced into the film industry. Television dramas and news programs also established a distinctive identity for the people of Hong Kong. Cantonese Television even helped shift Hong Kong Cinema’s market from being a Mandarin-dominated market to being Cantonese-dominated. In the 1970s, Hong Kong cinema completed a generational transition, with the previous generation of directors and writers retiring from the scene and a new generation of filmmakers from Hong Kong taking over. Notable directors who emerged from this period include John Woo, Sammo Hung, and Tsui Hark, who all established themselves as leading figures in the industry. In addition to new filmmakers, new film genres such as martial arts films, crime films, gangster films, and gambling films also emerged in the 1970s, which had not been seen before.



******************
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第六集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」


討論大網：

1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。

在這第六集的podcast， 我們一共分開三節，在第三節，我們討論了以下內容：

1. 七十年代香港電影與台灣電影的關係如何？為何可以說是歷史上最緊密的時期？
2. 隨著粵語片停產，台灣電影進入香港市場，哪些作品受到了歡迎？
3. 許多台灣電影人來到香港註冊開公司，並在香港進行電影後期製作，原因是什麼？
4. 為什麼香港在這個年代的後期製作會受益於台灣電影的湧入？
5. 台灣電影在香港是如何沒落的？這與香港在自由氣氛下爆發的創作力有何關係？香港在自由的環境下，如何超越台灣影人的作品？
6.  「南下影人」在七十年代還有發展嗎？
7. 香港電影業界與外國（主要是美國）電影業界有哪些聯繫？雙方自六十年代開始交流後對香港電影製作有什麼影響？
8. 七十年代，不少片場倒閉，取而代之的是租借器材公司，例如沙龍，為什麼會出現這種現象？對電影業有什麼貢獻？

---------

Outline of Introduction to Hong Kong Film Industry Podcast Part 6

About this series of podcasts, please check here.

Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"

At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.

In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.

In this sixth episode of the podcast, we divided our discussion into three segments. In the third segment, we covered the following topics:

1. How were Hong Kong and Taiwanese films related in the 1970s, and why can this period be considered the closest in history?
2. With the cessation of Cantonese films, Taiwanese films entered the Hong Kong market. Which works were well-received?
3. Why did many Taiwanese filmmakers come to Hong Kong to register companies and conduct post-production work there?
4.  Why did Hong Kong's post-production industry benefit from the influx of Taiwanese films during this period?
5. How did Taiwanese films decline in Hong Kong, and how is this related to the creative explosion in Hong Kong's free atmosphere? How did Hong Kong surpass Taiwanese filmmakers' works in a free environment?
6. Did "Filmmakers from Mainland China" continue to develop in the 1970s?
7. What connections existed between Hong Kong's film and foreign (mainly American) film industries? What impact did their interactions since the 1960s have on Hong Kong film production?
8. In the 1970s, many film studios closed down and were replaced by equipment rental companies, such as Salon. Why did this phenomenon occur, and what contributions did it make to the film industry?

******************
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第六集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」


討論大網：

1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。


在這第六集的podcast， 我們一共分開三節，在第二節，我們討論了以下內容：

1. 李小龍猝死之後，嘉禾是如何渡過難關呢？
2. 七十年代，香港社會從傳統走向現代，而電影圈正是這種社會變遷的縮影。嘉禾是如何在這個轉變中超越邵氏的？
3. 嘉禾擁有眾多巨星，其中洪金寶、許冠文、吳宇森、成龍的影響有多大？
4. 什麼是諧趣功夫片？有哪些著名作品？它們如何影響了《功夫熊貓》？
5. 諧趣功夫片如何使粵語電影成為香港電影的主流？
6. 除了嘉禾，七十年代還湧現了不少獨立電影製作公司，他們有哪些人？又有哪些作品？

Outline of Introduction to Hong Kong Film Industry Podcast Part 6

About this series of podcasts, please check here.

Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"

At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.

In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.


In this sixth episode of the podcast, we divided our discussion into three segments. In the second segment, we covered the following topics:

1.  How did Golden Harvest overcome the difficulties following Bruce Lee's sudden death?
2. In the 1970s, Hong Kong society transitioned from traditional to modern, with the film industry reflecting this social change. How did Golden Harvest surpass Shaw Brothers during this transformation?
3. Golden Harvest had many stars. How significant were the influences of Sammo Hung, Michael Hui, John Woo, and Jackie Chan?
4. What are comedy kung fu films? What are some famous works, and how did they influence "Kung Fu Panda"?
5. How did comedy kung fu films help Cantonese-language movies become mainstream in Hong Kong?
6. Besides Golden Harvest, many independent film production companies emerged in the 1970s. Who were involved, and what works did they produce?

******************
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第六集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」


討論大網：

1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。


在這第六集的podcast， 我們一共分開三節，在第一節，我們討論了以下內容：

1. 嘉禾成立的背景，主人的背景是什麼？話事鄒文懷從邵氏帶走了些什麼人？出走的原因又是什麼？
2. 張徹本伴隨鄒氏出走，但最後為什麼沒有呢？
3. 李小龍這一名巨星的出現，是如何拯救了嘉禾呢？
4. 功夫片自李小龍出現後成賣座電影，跟從前的武俠電影有什麼分別呢？
5. 何謂真正的功夫片？
6. 嘉禾衛星公司是什麼？嘉禾是如何利用省減成本開支呢？

---------

Outline of Introduction to Hong Kong Film Industry Podcast Part 6

About this series of podcasts, please check here.

Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"

At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry.  However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive.  Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest.  Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain.  The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers.  It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.

In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry.  These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.

In this sixth episode of the podcast, we divided our discussion into three segments. In the first segment, we covered the following topics:

1. The background of Golden Harvest's establishment: What is the background of its founders? What personnel did Raymond Chow take with him from Shaw Brothers? What were the reasons for the departure?
2. Chang Cheh initially planned to leave with Raymond Chow but ultimately did not—why was that?
3. How did the emergence of the superstar Bruce Lee save Golden Harvest?
4. How did kung fu films become box office hits after Bruce Lee's appearance, and how did they differ from the earlier wuxia films?
5. What defines a true kung fu film?
6. What was Golden Harvest's satellite company, and how did Golden Harvest utilize it to reduce costs?

******************
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.

---

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