沦陷区电影史是中国电影史的重要部分。对于东北沦陷区的电影，目前多数研究仍在关注于1937年成立的“满映”及其电影作品。然而，日本在东北地区的殖民史可追溯至20世纪初日俄战争结束时。因此，为进一步系统研究日本在中国东北的早期电影活动，本文将以长春铁路附属地为空间范围，1907年长春铁路附属地设立至1945年日本战败离开中国为时间范围，利用历史报纸、期刊、书籍、图片和电影等史料，结合现有文献进行文献研究，并结合文化地理学等跨学科研究方法，研究“满铁”在铁路附属地进行的市街的规划建设及发展，以及“满铁”基于此的电影放映和生产活动。

研究发现，长春铁路附属地有意在其东部建设一些展现自身经济和商业实力的市街以吸引外资，这样的建设也刺激了沙俄宽城子铁路附属地以及中国人兴建的长春商埠地的建设。尤其是后者更是直接将自己最重要的的商业街区及市场直接面对铁路附属地的繁华市街上。电影放映活动也是从这些市街上开始的，且电影院的分布与商业市街的发展程度非常一致。伪满建立后，日本开始发展“新京”新规划的市街，然而铁路附属地上的旧市街依然是重要的商业中心并吸引新开的电影院。“满铁”为加强宣传还会沿铁路线到偏远区域举行巡回放映活动，以宣传殖民思想。且这一举措在伪满建立后越来越受重视。此外，“满铁”一直在生产制作各种纪录电影以宣传“满铁”自身以及殖民思想。然而通过对《前线》、《机车パツハ》、《秘境热河》、《内鲜满蒙周游之旅：满洲篇》的案例分析来看，这些电影无法同时达到对中国人以及日本人的宣传意图，且基于其殖民活动本身的非法性和不正义性，这些电影与观众内在的矛盾无法被调和。综合而言，“满铁”自开始建立铁路附属地时，就希望利用电影同时达到：与区域商业发展互相促进、娱乐、宣传殖民思想的多重目的，然而这终究无法得逞。

The history of cinema in the occupied territories is an important part of the history of Chinese cinema. Most studies of film in the occupied Northeast China still focus on the “Manchuria Motion Picture Corporation”（“Man-ei”） established in 1937 and its films. However, the history of Japanese colonisation in the Northeast can be traced back to the end of the Russo-Japanese War in the early 20th century. Therefore, in order to further study Japan's early film activities in Northeast China systematically, this paper will take the Changchun Railway Dependent Territory as the spatial scope, the establishment of the Changchun Railway Dependent Territory in 1907 and the departure of Japan from China in 1945 as the temporal scope, and make use of historical documents such as newspapers, periodicals, books, pictures and films, as well as the latest literature to conduct a documentary study, and incorporate the cross-disciplinary research method of cultural geography to study the "South Manchuria Railway Company" and its films. The study examines the planning, construction and development of the Manchurian Railway's markets in the railway annexes, as well as the Manchurian Railway's film screening and production activities based on them.

The study finds that the Changchun railway dependent territory's intention to build commercial blocks in the eastern part of the dependent territory that demonstrated its economic and commercial strength in order to attract foreign investment, which also stimulated the construction of the Tsarist Kuanchengzi railway dependency as well as the Chinese-built Changchun commercial port. The latter, in particular, put its most important commercial districts and markets directly in front of the railway dependent territory's bustling market. Movie projection activities also began on these blocks, and the distribution of cinemas was very much in line with the degree of development of the commercial streets. After the establishment of Manchuria, Japan began to develop the newly planned markets in "Shinkyo", but the old markets on the railway land remained an important commercial centre and attracted new cinemas. In order to increase publicity, "Manchurian Railway" also held film tours along the railway line to remote areas to promote colonial ideology. This initiative became more and more important after the establishment of Manchuria. In addition, Manchurian Railways has been producing various documentary films to promote Manchurian Railways itself and colonial ideology. However, through the case studies of Front Line, Locomotive Patzah, Secret Rehe, and The Journey To Manchuria, it is clear that these films could not achieve the intention of propaganda for the Chinese and Japanese at the same time, and based on the illegality and injustice of their colonial activities, the inherent contradiction between these films and the audience could not be reconciled. Taken together, the Manchurian Railway, from the very beginning of the establishment of its railway dependencies, had hoped to use films to simultaneously achieve the multiple purposes of promoting the commercial development of the region, entertaining the public, and propagandising colonial ideology, but this could not be achieved.