Page 20 - Arts Innovation Report_2022_May11

除了藝術與文物，香港電影亦造就過一代輝煌。電影 representations of “Chinese masterpieces” and national treasures of the
史學家指出，香港電影的黃金時期（一般指上世紀80 Palace Museum, reifying how Hong Kong’s unique advantages on
cultural exchange and trading had allowed for—in the words of art
至 90 年代中期，這段時期的香港電影出口量遠超世
historian-curator Raphael Wong—the “building of China’s national
界上任何一個國家，除了美國），很大程度上歸功於
collection of antiquities” (Wong, 2022). 3
當年大量湧入電影產業的新血，他們許多都是回流香
港的海外留學生，將西方的電影製作技術和標準帶回 Aside from art and antiquities, our advantages in film are also most
香港。如電影製片人兼導演王晶所言，正是這「西方 evident. Film historians opine that Hong Kong cinema’s golden age
外表下的東方精神」讓我們的電影得以在當時不僅廣 (generally accepted as mid-80s to mid-90s which saw the city
exporting more films than every other country in the world except
受喜愛，還能呈現出「豐富多彩且不落俗套的藝術氣
the United States) owed much of its success to the new blood that
息」（Bordwell，2011）。在這個黃金時代，香港作為
entered the film industry during the period—many of whom studied
「超級連繫者」，將亞洲與美國的電影工作者聯繫到一
abroad and brought back with them an appreciation of “western”
起，展現香港能夠推動跨地域、全球性的文化對話實 standards of filmmaking. Its result, as encapsulated by local film
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力，亦透過此促進文化與經濟效益。
producer-director Wong Jing “an Eastern spirit in a Western package”,
was what made our films so crowd-pleasing but also “richly and
delightfully artful” during that time (Bordwell, 2011). In the run up to
this golden era, Hong Kong played the role of “super connector” in
bridging Asian and American filmmakers, again reifying our inherent
traits in forging global conversations about the cultural and economic
benefits of cross-cultural collaboration. 4

4 荷里活製片人雷·斯塔克於1958年在香港拍攝其改編的電影《蘇絲黃的世界》，標誌着荷里活首次進入亞洲。該電影與香港電影攝影師兼企業家汪長智合作拍攝，他所擁有的沙龍電影公司則為該電影劇組配備
器材。在隨後的幾年裡，沙龍電影公司為美國和亞洲電影製作人的合作奠定了基礎。隨着雷·斯塔克成為業界翹楚，沙龍電影公司也成為了荷里活電影在香港、東南亞、南亞以及中國大陸等亞洲地區的首選合
作夥伴 。
Hollywood studios were first brought to Asia when legendary producer Ray Stark shot his adaptation of The World of Suzie Wong (1958) on location in Hong Kong, and partnered with TC Wang—a Hong Kong-based
cinematographer and businessman who owned a pioneering company called Salon Films—to outfit the crew. In the years that followed, Salon Films laid the groundwork for co-productions between American and Asian
filmmakers, as Stark rose to the ranks of moguldom and Wang’s Salon Films became the go-to destination for Hollywood productions shot in Hong Kong, Southeast Asia, South Asia, and then China (F. Wang, personal
communication, February 17, 2022).
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