香港電影簡史

完成本課程後，學生將能夠: 1. 把有關電影放到戰後（1950-60年代）至2020年代香港歷史的脈絡裏，並分析和闡述它們； 2. 闡述影人在主題和風格上的創新之處，並分析好萊塢對他們的影響； 3. 解釋及證明香港電影作為本土電影、區域電影，以及世界電影的定位。 On completion of this Course, students will be able to: 1. Analyse and evaluate selected films by referring to key events in Hong Kong history from the post-war period (1950s–60s) to the 2020s; 2. Articulate the thematic and stylistic innovations of filmmakers and analyse their influence in regard to Hollywood; and 3. Explain and substantiate the positioning of Hong Kong cinema as a local, regional, and global cinema. 內容概述 Course Description 本課程旨在概述香港電影在本地和全球背景下所引起的共鳴和影響。香港製作的電影在過去數十年在世界電影史和香港人的文化記憶中留下了深刻的烙印。香港的歷史和社會文化變遷構成了我們研究電影如何與本地觀眾產生共鳴的本地框架。香港電影在國際上的接受程度，以及香港電影風格在好萊塢的流傳，構成了我們研究香港電影影響力的全球框架。本課程將根據風格與類型分析、導演、主題閱讀，以及有關香港電影、歷史與社會的文獻回顧組織而成。 This course aims to provide an overview of the resonance and impact of Hong Kong cinema in local and global contexts. Films made in Hong Kong have over the past decades made their marks in world cinema and in the cultural memory of Hong Kong people. Hong Kong history and socio-cultural change constitute the local frame where we can study how films resonate with local audiences. International receptions of Hong Kong and the circulation of Hong Kong film style in Hollywood constitute the global frame where we can study Hong Kong cinema’s lasting influence. The course will be organised around stylistic and genre analysis, directors, thematic reading, and review of selected literature on Hong Kong cinema, history, and society.

先修科目: 無 Pre-requisite Course: N/A 先備能力: 良好英語聽講讀寫能力 Pre-requisite Skills: Good command of English listening, speaking, reading and writing skills

無備註

講課/導修課、班上／課後閱讀和放映與評論、小組討論 Lectures, tutorials, in-class and after-class readings, screenings with commentaries, guided discussion MoodleE3、Blu-Ray Disc 與DVD播放器、投影機與投影幕、白板、白板筆、白板擦 MoodleE3, DVD & Blu-Ray players, projector & screen, whiteboard, markers & wiper

評量方式 Assessment Methods 評量形式 所佔比例 相關說明（如執行方式、質與量要求、次數等） 報告 20% 小組報告 Group presentation 期中考 20% 測驗 Mid-term quiz 期末考 40% 課外考試 (期末論文) Take-home exam (Term paper) 討論 20% 課堂參與 Classroom participation

• 片廠、類型與創新者 Studio, Genre and Film Innovators

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• 粵語片與建構身份認同 Cantonese Cinema and Identity Formation

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• 九七前夕： 焦慮、浮華與繁榮 Pre-1997: Anxiety, Flamboyance, Boom

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• 香港電影進軍好萊塢 Hong Kong Cinema Goes to Hollywood

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• 《內地與香港關於建立更緊密經貿關係的安排》與中港合拍片年代 CEPA and the China-Hong Kong Co-Production Era

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• 《內地與香港關於建立更緊密經貿關係的安排》與中港合拍片年代 CEPA and the China-Hong Kong Co-Production Era

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• 戰後的黃金時代 The Golden Age in the Post-War Period

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教科書列表 Readings 指定閱讀 Required/Essential Readings 第二週 Week 2 Fu, Po-Shek. “Patriotism or Profit: Hong Kong Cinema During the Second World War.” Early Images of Hong Kong & China, edited by Law Kar. 69–72. Hong Kong: Urban Council, 1995. 羅卡 (Law Kar). 〈香港早期的電影軌跡（1909-1915 年）〉. 《早期香港中國影象》. 頁 27. 香港: 市政局, 1995. 羅維明 (Law, Wai-ming). 〈香港早期的電影軌跡（1896-1908 年）〉.《早期香港中國影象》. 頁 20–22. 香港: 市政局, 1995. 張建德 (Stephen Teo). 〈追溯電光幻影：早期香港電影簡史〉 .《早期香港中國影象》. 頁 40–44. 香港: 市政局, 1995. 第三週 Week 3 Lee, Vivian P. Y. “Remaking Cantonese Film Culture: Union and Sun Luen.” The Other Side of Glamour: The Left-wing Studio Network in Hong Kong Cinema in the Cold War Era and Beyond. 59–76. Edinburgh: Edinburgh University Press, 2020. ———. “Timeline.” The Other Side of Glamour, x–xvi. Yau, Ching. “Identity Dismissed: Hong Kong Leftist Cinema of the 1950s.” Journal of Chinese Cinemas 16.2 (2022): 133–45. 第四週 Week 4 Fu, Po-Shek. “Entertainment and Propaganda: Hong Kong Cinema and Asia’s Cold War.” The Cold War and Asian Cinemas, edited by Fu and Man-Fung Yip. 238–62. New York: Routledge, 2020. 舒琪 (Shu Kei). 〈對電懋公司的某些觀察與筆記〉. 《國泰故事》（增訂版）. 黃愛玲編. 頁 66–81. 香港 : 香港電影資料館 : 2009. 第五週 Week 5 Berry, Chris. “An Alternative Cinema of Poverty: Understanding the Taiwanese-Language Film Industry.” Journal of Chinese Cinemas 14:2 (2020): 140–49. Yeung, Jessica Siu-yin. “Film Circulation and Mutual Influences between Hong Kong and Taiwan during the Cold War.” Taiwanese- Language Cinema: Rediscovered and Reconsidered, edited by Ming-Yeh Rawnsley, Corrado Neri, Wafa Ghermani and Chris Berry. 232–54. Edinburgh, UK: Edinburgh University Press, 2024. 第六週 Week 6 Tan, See-Kam. “Huangmei Opera Films, Shaw Brothers and Ling Bo: Chaste Love Stories, Genderless Cross-Dressers and Sexless Gender-Plays?”JUMP CUT: A Review of Contemporary Media 49 (Spring 2007): n.page. http://www.ejumpcut.org/archive/jc49.2007/TanSee- Kam/index.html 王君琦 (Wang, Chun-Chi). 〈尋找臺灣當代酷兒電影中《梁山伯與祝英台》及「凌波熱」論述之遺緒〉.《藝術學研究》11 (2012): 169–237. 第七週 Week 7 Chan, Stephen Ching-kiu. “The Fighting Condition in Hong Kong Cinema: Local Icons and Cultural Antidotes for the Global Popular.” Hong Kong Connections: Transnational Imagination in Action Cinema, edited by Meaghan Morris, Siu Leung Li, and Chan. 63–79. Hong Kong: Hong Kong University Press, 2004. Desser, David. “Making Movies Male: Zhang Che and the Shaw Brothers Martial Arts Movies, 1965–1975.” Masculinities and Hong Kong Cinema, edited by Laikwan Pang and Day Wong. 17–34. Hong Kong: Hong Kong University Press, 2005. 第九週 Week 9 卓伯棠 (Cheuk, Pak-tong). 〈六十年代青春派電影的特色〉. 《躁動的一代：六十年代粵片新星》, 羅卡編. 頁 66–72. 香港: 市政局, 1996. 張建德 (Teo, Stephen). 〈兩面的時代：粵語片與精神分裂的六十年代〉.《躁動的一代：六十年代粵片新星》, 羅卡編. 頁 17–25. 香港: 市政局, 1996. 第十週 Week 10 Lau, Jenny Kwok Wah. “Besides Fists and Blood: Michael Hui and Cantonese Comedy.” The Cinema of Hong Kong: History, Arts, Identity, edited by Poshek Fu and David Desser. 158–75. New York: Cambridge University Press, 2000. Yeung, Jessica Siu-yin. “Cultural Memory, the Trope of ‘Humble Wage Earners,’ and Everyman Heroism in the Hui Brothers’ Comedies and Their Remake.” Archiv orientální 90.3 (2022): 417–46. 第十一週 Week 11 Cheuk, Pak-Tong. “The Beginning of The Hong Kong New Wave: The Interactive Relationship between Television and the Film Industry.” Post Script: Essays in Film and The Humanities 19.1 (1999): 10–27. 舒琪 (Shu Kei). 〈許鞍華的電影時期〉. 《香港電影與社會變遷》（修訂本）. 李焯桃編. 頁 42–46. 香港: 市政局, 1998. 第十二週 Week 12 黎肖嫻 (Lai, Linda Chiu-han). 〈「懷舊」與「無厘頭」：九十年代初香港電影中兩個歷史紀慶行動〉.《香港電影回顧專題：光影繽紛五十年》. 羅卡編. 頁 90–94. 香港: 市政局, 1997. Yeung, Jessica Siu-yin. “Nostalgic Humor and Cultural Memory in the Remakes of Hong Kong Jane Bond Films.” Global James Bond: (Re)Imagining and Transplanting a Popular Culture Icon, edited by Lisa Funnell and Klaus Dodds. 45–59. Lanham, USA: Lexington Books, 2023. 第十三週 Week 13 Chang, Li-mei. “Whose Fatal Ways: Mapping the Boundary and Consuming the Other in Border Crossing Films.” Asian Journal of Communication 11.2 (2001): 39–57. 史書美 (Shih, Shu-mei). 〈欲望的地緣政治〉.《視覺與認同：跨太平洋華語語系表述．呈現》（二版）. 台北：聯經，2024. Wu, Chia-rong. “Hong Kong Identity in Question: Fruit Chan’s Uncanny Narrative and (Post-)97 Complex.” American Journal of Chinese Studies 24.1 (2017): 43–56. 第十四週 Week 14 Yeh, Emilie Yueh-yu, and Shi-yan Chao. “Policy and Creative Strategies: Hong Kong CEPA Films in the China Market.” International Journal of Cultural Policy 26.2 (2020): 184–201. Yeung, Jessica Siu-yin. “Ann Hui’s Allegorical Cinema.” Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary, edited by Jason S. Polley, Vinton Poon, and Lian-Hee Wee, 87–104. Singapore: Palgrave Macmillan, 2018. 第十五週 Week 15 Chan, Ka Lok Sobel. “The Dynamic Aesthetics, Locality and Dehybrid Style of Hong Kong Cinema Facing the Recovery of Post-Pandemic Period.” AVANCA | CINEMA 14 (2023): 452–58. Wu, Helena. “Distance and Proximity: The Spectatorship of Trauma and Film Viewing in Postmillennial Hong Kong.” Cultural Studies 38.1 (2024): 36–68. 推薦閱讀 Supplementary/Recommended Readings Cheuk, Pak-tong. Hong Kong New Wave Cinema (1987–2000). Bristol, UK; Chicago: Intellect, 2008. Law Kar, Frank Bren, and Sam Ho. Hong Kong Cinema: A Cross-Cultural View. Lanham, MD: Scarecrow Press, 2004. Lim, Song Hwee, and Julian Ward, eds. The Chinese Cinema Book. Basingstoke, UK : Palgrave Macmillan and London, UK: British Film Institute, 2011. 張建德 (Teo, Stephen). 《香港電影：額外的維度》（中文增訂本）. 香港：中和，2018. Yau, Esther. At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001. 自製講義或課本之參考書目 Coursepack 不適用 N/A

地點

綜合一館507

時間

（週四） Thursdays 2:00–4:00 pm （僅限預約） (by appointment only)

聯絡方式

jsyyeung@hotmail.com