香港作为全球电影的生产中心之一，电影是反映港人文化及身份认同的重要指标。在主流商业电影机制下，香港还浓缩了一段另类样貌的电影历史，那就是在20世纪50年代以来客观存在的左派电影和右派电影的历史。右派电影在台湾政治力的介入下，以台湾市场为利诱笼络了“邵氏”、“电懋”等电影公司，通过主流商业电影的生产流通巧妙进驻香港主流意识，并被香港电影研究者频频关注。而意识形态上拥护新中国的左派电影，却因为边缘性发展和港人普遍惧“左”等政治原因，而往往被香港电影史研究所忽略。但事实上，香港左派电影的历史存在具有重要意义，不仅承载进步意识和建构文化中国，而且折射了香港与内地文化情感紧密联系的特定历史。本论文希望借助社会学研究、意识形态研究和文化身份探讨等理论，深度探讨香港左派电影的发展演变和重要特点。 香港左派电影的全面启动，主要在50年代初新中国确定了“长期打算，充分利用”的对港方针并落实于社会文化政策之后。1950年改组而成的长城电影制片有限公司（简称“长城”，史称新“长城”）和1953年成立的凤凰影业公司（简称“凤凰”），占据香港国语电影生产的半壁江山；1952年成立的新联影业公司（简称“新联”）是香港粤语电影的有生力量，三者共同开启左派电影的“长凤新”时期。在自觉的理念指导下，左派电影通过社会写实、伦理写作和家国同构等表现手法，形成了独特的艺术建构。此外，面对商业化市场竞争和观众娱乐需求，左派电影遵循商业运作思路，在制片、发行、放映等多环节推进市场化追求。 1966年内地“文革”爆发后，香港左派电影界也受到严重冲击，不仅作品被全盘否定，而且电影人多受到批判，直接导致了创作与香港现实脱节、人才流失严重、生产力锐减、市场优势丧失等后果。80年代初，在新形势下，香港左派电影全面转型。左派公司合并成银都机构有限公司（简称“银都”），努力开拓本土化发展的新格局。香港回归后，特别是2004年CEPA正式实施后，“银都”进一步调整思路，将多元化类型创作作为主要方向，并以普遍撒网、密集投资作为重要策略。目前，尽管发展势头良好，但“银都”也存在创作力薄弱、主导性缺乏等问题。未来，“银都”务必加强发展规划力、增强投资力、提升创意力。

Hong Kong, as one of global movie production centers, its movie is a crucial index reflected local people’s culture and identity. Under the mainstream movie commercial mechanism, there is also alternative landscape concentrated in Hong Kong movie history, that is, left-wing and right-wing cinema co-exist since 1950s. Due to Taiwan political intervention, the right-wing movie win over the Shaws Brothers Ltd (the Shaws), Motion Pictures and General Investment Film Ltd (MP & GI) etc. by making a market of Taiwan, moved into the local mainstream ideology by means of circulation in mainstream commercial mechanism and attracted much attention from Hong Kong researchers. However, the leftist which supported new China ideology was neglected because of its marginality development and political factors: general “left-fear” in Hong Kong people. In fact, the historical existence of Hong Kong left-wing cinema has significant meaning, which not only carried the ideology of progress and constructed Chinese culture, and also reflected a certain period in history that the culture and emotion of Hong Kong and Mainland China attached to each other closely. This dissertation attempt to research on Hong Kong left-wing movie’s evolution and characteristics by virtue of social science, ideology and culture identity theory.Hong Kong left-wing cinema completely start at the early 1950s when the new China developed a guideline to Hong Kong: “long-term planning, fully utilizing” and implement as the social culture policy. Great Wall Movie Enterprises Ltd (Great Wall) reorganized in 1950 and Feng Huang Motion Picture Co. (Feng Huang) established in 1953 occupied half of the Hong Kong Mandarin cinemas. Sun Luen Film Company (Sun Luen) set up in 1952 was the effective force in Hong Kong Cantonese Chinese movie field. These three companies opened up Hong Kong left-wing cinema new period. Under the guidance of self-conscious idea, peculiar art construction came into being in left-wing cinemas via realistic, ethics, nation-family isomorphism, such as means of artistic expression. Moreover, In the face of commercial competition and entertainment requirements of audience, left-wing cinema followed commercial operation to push forward market-oriented pursuit in production, distribution, screening and other aspects.In 1966, Cultural Revolution broke out in Mainland China. Hong Kong left-wing cinema had been seriously shocked not only the leftist movie was totally negative, and many movie practitioner suffered criticism, directly led to the production disjointing Hong Kong reality, serious brain drain, productivity reducing and market advantage losing and other consequence. Under the new situation in the early 1980s, Hong Kong left-wing cinema brought a great transformation on all sides. Leftist companies merged into Sil-Metropole Organization Ltd (Sil-Metropole) and exerted to develop a localization-oriented new pattern. After Hong Kong returning, especially in 2004 CEPA put into practice officially, the Sil-Metropole further adjusted the strategy to make the diversified genre creation as the main direction and take the widespread and intensive investment development tactic. Right now, although the Sil-Metropole has maintained a good momentum of growth, there are also numbers of problems, e.g. creativity weak, predominance lacking. In the future, the Sil-Metropole should strengthen planning, enhance investing and promote creativity.