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|Title:||陆运涛的电影事业及其幕后功臣 ：兼论冷战时期的国泰电影特色 = Loke Wan Tho's movie empire and the people behind its success : a concurrent analysis of Cathay movies during the Cold War||Authors:||林川富 Lim, Sebastian||Keywords:||DRNTU::Humanities||Issue Date:||2013||Abstract:||本文将以陆运涛为研究对象，把他在五、六十年代冷战时期的电影事业做出整理和收集。陆运涛的电影王国在巅峰时期扩展到了亚洲各地，例如台湾、印尼、日本、马来亚、香港等等。不过，本文将研究范围锁定在当时属于英殖民地的马来亚以及香港，因为除了经营电影院和发行电影之外，陆运涛名下的国泰机构在这两个地区开办了制片厂，拍摄了不少电影杰作。再者，有五位人物为陆运涛的电影王国出了不少汉马功劳；他们分别是何亚禄、Tom Hodge、哈申汉尼夫(Hussain Haniff)、易水以及欧德薾（Albert Odell）。本文将为这五名幕后功臣揭开神秘的面纱，对他们的生平进行探索并且给于他们的成就适当的认可。此外，笔者希望在讨论这五名人物与陆运涛的关系时，可以发掘有关陆运涛的个人资料，强化世人对他的认识。本文会把马来亚和香港分隔开来，详细整理出陆运涛电影事业的发展过程，在适当的部分以各部有关的电影如《四千金》、《空中小姐》加以讨论，并且利用一些辅助材料对这两个地区国泰机构所制作的电影特色加以讨论。除此之外，国泰电影对冷战时期英殖民地（即马来亚和香港）所反映的社会现象，文章也会细作分析。最后，笔者也从新加坡档案馆取得珍贵的第一手资料，希望可以加强本文的论点，为学术界做出些许贡献。 This dissertation is a study of the founder of Cathay, Loke Wan Tho and his movie career during the era of the Cold War in the fifties and sixties. At its height, his movie empire covered large parts of Asia; namely Taiwan, Indonesia, Japan, Malaya and Hong Kong. However, this paper will be mainly focusing on Malaya and Hong Kong (both colonial lands at that time) because these are the only two places where Cathay established film production operations in addition to film distribution and cinemas. Many outstanding films have been produced at these studios. During the process of building his movie empire Loke Wan Tho has relied on the help of some particularly talented individuals such as Ho Ah Loke, Tom Hodge, Hussain Haniff, Yi Shui and Albert Odell. This paper will uncover the mysteries behind these unsung heroes and give them due recognition for their substantial contribution. In addition, while discussing the relationship between these people and Loke Wan Tho, more details about him will be uncovered so as to enhance our understanding of his life. This paper will be divided into two main parts – Malaya and Hong Kong – in order to better explain Loke Wan Tho’s endeavours into film production. Information about movies such as My Sister Hedy and Air Hostess will also be brought in as supplementary material and examples about the unique features of Cathay movies. The issue of Cathay movies as a reflection of life and society in the two colonial regions during the Cold War will be elaborated as well. Lastly, the usage of first hand information obtained from the National Archives of Singapore will be a boon to this paper’s analysis and hopefully provides a minor contribution to further research in the future.||URI:||http://hdl.handle.net/10356/51610||Rights:||Nanyang Technological University||Fulltext Permission:||restricted||Fulltext Availability:||With Fulltext|
|Appears in Collections:||HSS Student Reports (FYP/IA/PA/PI)|
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