冷戰時期香港電懋影片的「另類改編」與重拍
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AbstractIn this book, the perspective of cultural material ‘recirculation’ is used to discuss the ‘alternative’ (non-legal) adaptation and ‘remake’ of six movies by Motion Picture & General Investment Co, Ltd. In Hong Kong during the Cold War era, many films did not ‘adapt’ other works in a ‘direct’ and ‘legal’ way. In compliance with today’s legal viewpoint, these films cannot be regarded as ‘legal’ ‘adaptations’ because the authors or authorisers of the original works probably did not know that their works were ‘utilised’. They were either ‘plagiarised’ cultural materials from serious and popular novels or were ‘imitations’ of plots from Hollywood movies. I think these ‘adapted’/’remade’ films did not imitate other works in an ‘unconscious’ state, and they were also not ‘parody’; rather, in the process by which Hong Kong was stepping into modern society and under the backdrop of an emerging mass media industry that was gradually developing, whether it was pulp fiction, popular literature, or commercial films, for the interest of their own industries, a large number of works must be produced in a short period of time. In this situation, ‘imitation’ or ‘plagiarism’ had become a means of expanding business. The creators sought inspiration for stories through plagiarising/imitating/referencing other texts to increase creative motivation and cultural resources.

In the 1950s and 1960s, the concept of ‘intellectual property rights’ had not yet taken root in Hong Kong. The production of many popular literature and films actually relied on the ‘recirculation’ of cultural materials, and the ‘recirculation’ of these cultural materials was not necessarily obtained from literary works (including pulp fiction and serious literature). The material for many original versions of stories was drawn from Hollywood movies. These movie titles were not the same as their ‘remade’ films. It is difficult to judge which works were the ‘original versions’ of these films from the titles of the films alone. However, as long as we pay close attention to the contents of the plots of the films, we can find their original texts. These Hollywood stories would often undergo a ‘localisation’ rewriting process. The setting and background of the characters in the story were ones with which Hong Kong and Chinese-language film audiences could grasp and identify. Moreover, in the process of ‘adaptation’/’remake’, the multifaceted journey and propagation of these cultural materials were also reflected in different media, regions, political cultures, national cultures, and so on, thereby revealing the culture and business network of the Hong Kong film industry during the Cold War era.

This book is concentrated on a discussion of six urban romance films produced by Motion Picture & General Investment Co, Ltd from the late 1950s to the early 1060s: The Splendour of Youth/The Tender Age (1957, directed by Kei Cho), The Sorrowful Lute (1957, directed by Kei Cho), Our Sister Hedy (1957, directed by Ching Doe), Mambo Girl ( 1957, directed by Evan Yang) and the first two works of the ‘Hong Kong Trilogy’: A Night in Hong Kong (1961, directed by Yasuki Chiba) and Start of Hong Kong (1963, directed by Yasuki Chia). I put the focus on these six films and their relationship with the ‘original versions’ in hopes of opening up a variety of research directions on the ‘adapted film’ paradigm.
All Author(s) List麥欣恩 Grace Yan-yan Mak
Series Title香港中文大學中文系學術文庫
Year2019
Month9
Publisher中華書局
Place of Publication北京
Pages1 - 225
ISBN9787101141146
LanguagesChinese-Traditional
Keywords香港電影、冷戰、電懋、改編電影、重拍電影、跨文化

Last updated on 2020-30-09 at 17:08