以影犯禁：冷戰，瘟疫，諜戰

二戰結束後，電影工業在香港蓬勃發展，成為來自中國內地的南來影人、流亡文化人、及逃亡的資本家的一個避風港，港英也成為共產黨和國民黨的文化戰場的前線，電影更是其中一個重要的思想領域鬥爭的工具。本文参閱最近解密的殖民政府檔案材料，嘗試探討香港處於東西方冷戰期間，在隱蔽的電影審查制度下，電影如何成為想像「政治中國」的無限延伸，殖民者又如何利用電檢制度設法遏止香港觀眾的「文化中國」視野，歷史覺醒，及政治參與。香港自此隱沒在世界電影的畫面和文化版圖後，值得歷史還它一個公道。本研究同時指向在冷戰陰影和特定地緣政治的配置下，越境販運危險的電影影像，意識形態，和政治宣傳，成為了當時秘而不宣的「全球化」文化交流與思想的交戰。

關鍵字

冷戰時期；香港電影政治；政治審查；電檢制度；政治無意識；間碟電影；《瘟疫》

並列摘要

Immediately after WWII, Hong Kong had become a place of sojourn for many exiled cultural elites, capitalists, and southbound filmmakers from Mainland China. The colony was turned into the frontline of underground propagandist warfare between the Nationalist and Communist forces. Owing to the mass appeal of cinema, film exhibition in this distinctively politicized period was blatantly considered by the ruling class as a weapon of massive transformation of minds and hearts Based on recently declassified government documents, film studio records, and press coverage, this article traces clandestine film censorship in colonial Hong Kong during the Cold War era. In the eyes of the British colonizer, screening Chinese cinema always runs the risk of promoting ＂political China＂ in the colony, which could destabilize the territorial boundary and the colony's political status quo. In the shadow of Cold War paranoia, film screening and viewing are subject to strict official surveillance to put local Chinese citizens into quarantine against the visuality of politics and the historical awareness of ＂cultural China.＂ The evidence of this study also points to a different conceptualization of ＂global＂ cultural exchange and ideological combat in film screening across national borders. It is less about the easy traffic of capital, human resources, commodities, and ideas across the border than the dangerous trafficking of movie images, ideologies, human actions and propaganda.

並列關鍵字

Cold War ； Hong Kong cinema and politics ； film censorship ； political unconscious ； spy movies ； La peste

國際替代計量

以影犯禁：冷戰，瘟疫，諜戰

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