電影空間的政治－－兩齣五Ｏ年代香港電影中的理想空間

Abstract

一直以來，關於五○年代香港文藝的討論都著重於冷戰格局下的左右對立模式，事實上文藝在美學與政治之間的關係並不這麼簡單。本文以五○年代香港電影《珠江淚》和《半下流社會》為例，探討左右兩派的小說作家及電影工作者如何尋找一個理想的空間，建構身份認同，並且為作為難民城市的香港講出他們心目中的故事。他們用文字與電影語言，解釋五○年代這一段歷史，建構他們憧憬的理想空間，在表面意識形態差異底下，其實亦有相同之處。

Since long, discussions held on Hong Kong’s art and literature events in the 50s have been focused on the way the left and the right confronted with each other in Cold War era. In fact, it is never an easy task keeping art and literature aesthetically and politically balanced. In this article, we take Pearl River Tears and Half Way Down, 2 Hong Kong-made films in the 50s as examples for discussion on the effort to locate an ideal space of their own made by novel writers and film workers of the left and the right. There, the artists could become identified while telling their stories when Hong Kong was considered mostly a city for refugees. Using their own wording and movie languages, the decade of the 50s was told and their ideal space built. Ironically, the two ideologies that appear different did look alike in certain ways.