1930與1940年代香港紀錄性影片初探

1914至41年間，香港製作、放映了九十多部紀錄性質的影片，二十年代的主要製作單位是民新公司，1935年後則以大觀公司為主。按現存資料及影片內容，本文嘗試探討這時期香港紀錄片的特徵及背景因素。當中超過六成作品集中於1936至38年間推出，便涉及當時人與事的主客觀因素。另外，像格里爾生（John Grierson）在其他殖民地推動的政府自製紀錄片，並沒有在香港出現，亦有其箇中原因。淪陷後，日本人攝製了《新生的香港》（1942）及《香港攻略戰》（1942），後者是部兼含劇情與紀錄元素之宣傳片，更把參演的紫羅蓮當成樣板，經台灣送到日本，還以她的名義撰寫〈日本東京親歷記〉，論述中並會簡略討論此片。

From 1914 to 1941, Hong Kong produced and exhibited over 90 non-fiction films. In the 1920s, the main production unit of these films was China Sun Motion Picture Co Ltd. After 1935 the main producer was Grandview Film Company Limited. Based on data in existence and the content of the films, this paper will attempt to explore the characteristics and background elements of Hong Kong documentary (non-fiction) films of that time. Over 60% of the total number of documentary films were exhibited between 1936 and 1938, which invites explorations into what subjective or objective factors, such as events and peoples, involved in causing the phenomenon. On the other hand, Hong Kong did not have the kind of government-sponsored documentary films advocated by John Grierson, who promoted them in other British (former) colonies. There must be a reason for that. After the Japanese occupation, the Japanese filmmakers produced The Birth of New Hong Kong (1942) and Hong Kong Conquered (1942). The latter is a propaganda film that combined dramatic and documentary elements. Tsi Lo Lin was the only Hong Kong actress appeared in the film. Japanese producers made her into an exemplary pro-Japanese Hongkonger for propaganda purpose. They sent her to Japan via Taiwan, and wrote My Personal Experiences in Tokyo, Japan in her name. This paper will briefly discuss that film as well.