中聯與粵語電影改編的世界主義視野

世界主義承諾透過一再強調個人、社區和文化之間的相互聯繫來超越國族思維和受傳統約束的「本位主義」。本文探究香港殖民時期的左翼粵語電影公司即中聯電影企業有限公司（1952-1967）的改編政治，並細究中聯電影如何借助世界文學經典來提高粵語電影的聲望。本文集中討論三部1955年的電影：改編自《遠大前程》的《孤星血淚》、根據《安娜．卡列尼娜》改編的《春殘夢斷》，以及以《嘉莉妹妹》為藍本的《天長地久》。中聯的成立有賴於粵語電影工作者對1940年代粵語電影清潔運動的熱心響應。該運動由上海左派影人蔡楚生和司徒慧敏發起，得到粵語電影中堅分子如吳楚帆和盧敦的支持。本研究拷問中聯與粵語電影在冷戰時期的文化政治角力中所展現的世界主義立場，進而強調其中所遭遇的困境和變遷。此外，本文亦關注中聯於冷戰時期的電影製作中，以族群為本和文化上具有世界視野的視覺表達。中聯所代表的社會寫實主義並不本土或過時，它的電影藝術工作者想像了一個以草根階層為本的社群，由工人、知識分子、本地人和異鄉人所組成，希冀打破人與人之間的成見，並超越他們的國族身份，而將他們聯繫起來的是一個理想中具備人性化和世界主義視野的社群。

Cosmopolitanism promises to go beyond national thinking and tradition-bound parochialism by reemphasizing the interconnectedness of individuals, communities, and cultures. This article probes the politics of adaptation of the left-leaning Cantonese Union Film Enterprise (Zunglyun, 1952-1967) in colonial Hong Kong, and scrutinizes how it embraced world literary classics to enhance the prestige of Cantonese films. It focuses on three 1955 adaptations: An Orphan's Tragedy (Gu sing hyut leoi; from Great Expectations), Anna (Ceon caan mung dyun; from Anna Karenina), and Eternal Love (Tin coeng dei gau; from Sister Carrie). The founding of Union was a conscientious response of Cantonese film workers to the call of the Cantonese Film Clean-up Campaign in the 1940s, launched by leftist filmmakers from Shanghai (Cai Chusheng and Situ Huimin) and supported by Cantonese film leaders Ng Cho-fan and Lo Duen. The study interrogates the predicaments and vicissitudes of Union's cosmopolitan stances as it wrestled with the cultural politics of Chinese cinema during the Cold War. It elucidates the ethnically rooted and culturally cosmopolitan Cantonese progressive cinema. The social realism represented by Union is not local or passé. The Union artists envisioned from below a humane and cosmopolitan community inhabited by workers and intellectuals, locals and strangers, which connects people beyond their parochialism and nationness.