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Cathy Liang 100122010
Professor Wenchi Lin
28 May 2014
Dancing with the Society: Shaw Brothers’ Mandarin Musicals in the 1960s
Hailed as “the Hollywood of the East,” Shaw Brothers (HK) Ltd. had great impact on
the film industry of Hong Kong and helped elevate Hong Kong cinema to an international
level. Shaw Brothers had a long history before it became the major film production company
in Hong Kong. Founded in Shanghai in 1925 in the name of Tianyi Film Company, it thrived
into a “transnational network of entertainment business” in the 1950s by vertically integrating
production, distribution and exhibition (Fu 2). Like the major studios in Hollywood, Shaw
Brothers also adopted Fordism to churn out films efficiently in a variety of genres (Chung
666). Starting from the very beginning, Shaw Brothers aimed at producing popular films. Not
only did it invent its own “shawscope” (adopted from cinemascope, tohoscope, and
dyaliscope) to attract audience, it always looked for film genres that would guarantee box
office, such as Huangmei opera films, a greatly successful genre in the early 1960s, including
the record-breaking title The Love Eterne (1963). As director Chang Cheh recalls in his book
Thirty Years of Hong Kong Cinema in Reflection (Huigu Xianggng Dianying San shi Nian),
Run Run Shaw’s decision to choose Huangmei opera instead of Peking opera for film
adaptation was simply because Huangmei tunes were sung in a natural way and easier for the
audience to accept while Peking opera was not (16).
It is not surprising that Shaw Brothers made mostly genre films, since genres have
built-in audience and it’s easier to market. Besides Huangmei Opera films, Shaw Brothers
was also known for popular genres such as Wuxia (Sword-fighting) films, musicals, comedies,
soft-core porns, spy films, and drama. Though a relatively short-lived genre and less
remarkable than Huangmei and Wuxia films, the musicals are still a genre worth studying. In
1960, Shaw Brothers embarked on making the first color musical film on Shawscope, Les
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Belles, as a new step after the Huangmei opera films were widely accepted. It was also
launched as a strong competitor to other companies’ musical films, especially those of the
Motion Picture and General Investment Film Company (MP&GI). Subsequently, the Shaw
Brothers produced several “modern” Mandarin musical films like Les Belles. Their common
feature is the “modern” outlook with the story set in the contemporary society and the
characters in costumes of the period (Shizhuang). To emulate the trend of the musical films
started by Hsin Hwa Motion Picture Company’s Songs of the Peach Blossom River (1956)
and MP&GI’s Mambo Girl (1957), Shaw Brothers’ Mandarin musical films endeavored to
take advantage of the new screening technology to present musical numbers with dashing
choreography and gorgeous costumes and project the modern lifestyle that cannot be easily
experienced.
The majority of studies on Shaw Brothers focus on the history of the company and its
technical development. The Cinema Empire of Shaw Brothers illustrates how Shaw Brothers
took advantage of its family-based business structure to expand its industrial enterprise from
Shanghai to Singapore, Malaysia, and Hong Kong in the 1950s. The expansion further
provided Shaw Brothers the opportunity to adopt Hollywood industrial model of vertical
integration to combine exhibition, production, and distribution. In her "Moguls of the Chinese
Cinema: The Story of the Shaw Brothers in Shanghai, Hong Kong and Singapore,
1924–2002," Stephanie Poyin Chung details this industrial history of Shaw Brothers to show
how it created its “cross-border business network” (674). The collaborated article in Chinese
by Zhao Weifang and Lei Chengyun “Modernization and Indigenization: The Interaction
between the Films of Hollywood and Hong Kong-The Access to the Resurgence of the Film
in Hong Kong” (xiandai hua yu bentu hua:hao lai wu yu xianggang dianying de shuangxiang
hudong—jianlun xianggang dianying fuxing zhilu) turns to Shaw Brothers’ “modernized”
production model and gives a good depiction of how it was influenced by Hollywood’s star
system and its efforts to bring in advanced filming technology and construct big film studios
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(143). Wu Hao’s book-length study Shaw Films: Musical & Melodrama (shaoshi guangying
xilie: wenyi gewu qingxiju) also discusses the new technology of filmmaking Shaw Brothers
adopted to enhance the quality of its films, especially in sound and color. He pointed out
Shaw Brothers was influenced by Hollywood musicals to use widescreen, to stage
extravagant dancing performance and, and to have similar narrative structure for its stories
(Wu 193-94).
Other scholars are interested in the cultural and ideological aspects of Shaw’s genre
films. Some emphasize on the Chinese culture presented in the films and their lineage with
Shanghai cinema. In "The Shaw Brothers Diasporic Cinema" for instance, Poshek Fu points
out that Shaw Brothers was determined to be a “diasporic Chinese business” in the global
network since the 1960s (8). Therefore Shaw Brothers’ production often aimed at presenting
the “Chinese flavor” to attract non-Chinese audience and projecting a “pan-Chinese
community” for Chinese audience around the world (12). In “A Compromised Identification:
Hong Kongness in Shaw Brothers’ Films in the Period of Cultural Revolution” (tuoxie de
rentong: wenge shiqi shaoshi xiongdi dianying de xianggang xing) Liao Jinfeng goes further
to argue that Shaw Brothers upheld the traditional moral value of Chinese culture in most
their genre films made during the time of Chinese Cultural Revolution, including comedies,
martial art films, melodrama, and musicals. In his view, despite the elements of pop culture,
like pop music, dance, and party, Shaw’s musicals still convey strong “Great China
Consciousness” (Da zhong guo yi shi) (345-46). Fu observes that Shaw Brothers endeavored
to open new markets and become a significant enterprise that can compete with other film
companies in the global network in the 1960s. He points out that Shaw Brothers thus
emphasized on the cultural and artistic tradition of China on screen and delivered the sense of
“cultural nationalism” in its film productions for the ethnic-Chinese audience. Liao also finds
the Chinese culture and tradition in Shaw Brothers films significant, though he believes that
they are in the film because the legacy of Chinese culture is deep-rooted in Hong Kong
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Mandarin cinema.
In recent years, several scholars began to pay attention to issues of modernity in Shaw
Brothers’ Mandarin musical films. Hong Kong Nocturne (1967) provides a good text for them
to examine Kong Kong’s modernity as represented on big screen. Li Siuleung for example
contends that Hong Kong Nocturne presents “an imagination of modernity and local
self-identity” (77). He observes that both signs of modernity and traditional Chinese culture
are featured in the musical films, which makes the “locality” of Hong Kong interrelate with
the “modern” and the “global” (82). In his “Three Readings of Hong Kong Nocturne,” Paul G.
Pickcowicz indicates that the film shows the conflict between traditional value and the
temptation of modernity as materialized in fashion and trends of western culture (97-98). In
“Shaw’s Efficient Master of Entertainment: Some Significant Thoughts on Umetsugu Inoue”
(paozhi yule de shaoshi kuaishou: Umetsugu Inoue de jige yiyi), Yeh Yuehyu and Darrell
William Davis point out that Japanese director Umetsugu Inoue helped Shaw Brothers to
develop various film genres with his efficiency and new techniques of filming. As a
productive and skilled director, Inoue made good use of the modern spaces such as those of
parties, night clubs, and scenic spots of different countries to illustrate the “spectacle of
metropolis” on screen (Yeh and Davis 181). Inoue’s modern musical films, like Hong Kong
Nocturne and the King Drummer (1967), presented eye-catching dancing performances with
POP style of modern arts decoration as the setting or the stage performance. His works
undoubtedly brought in trend of “modernity” and youth culture in Shaw’s musical films. He
provided various new images that Shaw’s famous costume genre films like Huangmei and
Wuxia films did not show (Yeh and Davis 183).
Critics in general agree that Shaw Brothers successfully expanded its business network
by adopting Hollywood film production model of Fordism and vertical integration. The
“modernized” facility and industrial structure enabled Shaw Brothers to produce numerous
genre films with efficiency. One important aspect of Shaw Brothers’ modernization however
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has not been touched upon yet; that is, the modern society and stories about modern life it
projected in the Mandarin musicals. Shaw Brothers remodeled the genre films to appropriate
the current social situation into stories. Since Celestial Pictures’ restoration and release of
Shaw Brothers’ seven hundred and sixty films on DVD and VCD, more scholars have noticed
the display of modernity in Shaw’s Mandarin musical films. However, few have provided a
systematic and diachronic analysis of how Shaw Brothers managed to be modern and at the
same time upholding Chinese traditional culture to convey pan-Chinese consciousness as in
Huangmei opera films and Wuxia films. Les Belles, for instance, presents a Huangmei
sequence of ”Lady Meng Jiang” (Meng Jiangnu) as a stage performance, which exhibits
ancient Chinese costumes, a touching legendary story, and gorgeous performance in
Haungmei tunes. However, this Huangmei repertoire sequence in Les Belles is presented with
shifting camera angles, including high-angle, and close-up shots. Love Parade (1963) also
provides a sequence in which several models wearing cheongsam (qipao) in a setting of
Chinese royal court with a stone sculpture of dragons. This sequence is followed by
performances that display costumes of Malaysia and Japan. Before this sequence appears,
there is a shot of a revolving globe to place the Chinese scene in an international context.
As Guofeng Shen argues in Concepts and Patterns: Genre Studies (guannian yu fanshi:
leixing dianying yanjiu), genre films often reflect adopted values and ideologies of the
general audience. As social situation changes, they will transform so as to “reposition and
reaffirm certain changed faith and customs” (40). Shen emphasizes that genre films, as a
mass culture, “is not consumption but a culture that actively create and deliver meanings and
pleasure” (41). Shaw Brother’s Mandarin musicals of the 1960s testify to this nature of genre
very well. The musical genre shows how Shaw Brothers responded to the modernization of
Hong Kong in its films, which help constructed Hong Kong’s modernity. Shen’s notions of
genre films points out the active interaction and close relations between cinema and the
society as will be observed in the inception of Shaw Brother’s Mandarin musical films and
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the later stages of development in the 1960s. In “Fallen Women, Rising Stars, New Horizons:
Shanghai Silent Film as Vernacular Modernism,” Miriam Bratu Hansen proposes the concept
of “vernacular modernism” to argue that cinema not only promotes technological modernity
but also serves as a “public horizon” that “the pathologies of modernity were reflected,
rejected, transmuted, or negotiated” (12). The modernism she refers to is not judged as
literary-intellectual modernism but as “vernacular” to emphasize the sense of its indigenous,
popular, and everyday aspect. Accordingly the thesis will examine the soundtracks, costumes,
settings, and lifestyles arranged and presented in the Mandarin musical films to show they are
signs of modernity that both reflect the modern culture of the time but also contribute to its
formation and the audience’s cognition of modernity.
In my thesis, I will argue that Shaw Brothers’ Mandarin musical films in the 1960s
present a celluloid world of modernity which reflects contemporary Hong Kong society. They
show Shaw Brothers’ sensitivity to social trends, such as youth culture, and how it quickly
incorporated them into the films. As Poshek Fu points out, Mandarin was “the language that
represented the modern nationhood of China” while Cantonese was comparatively a language
that represented the sensibility of the locals (7-8). Fu considers that Shaw Brothers adopted
Mandarin as its official business language because it can bring Chinese-language cinema to a
worldwide audience (8). Therefore, by analyzing Shaw Brother’s Mandarin musical films one
can well see how the society was facing a rapid change of modernization and economic boom.
Nine Mandarin musical films of the Shaw Brothers during 1960s will be the major film texts
examined in the thesis to illustrate how these joyful and entertaining musicals are not just
entertainment of escapism. They in fact encompass social situations and phenomena related
to contemporary society. The thesis will have three main chapters. In each chapter, three
musical films will be discussed to analyze their main themes, key spaces, types of music
selected, and dance numbers choreographed. In a word, the film form of these films will be
examined to see what new technique was used and the audience targeted. It is the hope of the
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thesis to clearly demonstrate that these musical films are closely related to the contemporary
society of Hong Kong, while mapping out the short history of Shaw Brothers’ Mandarin
musicals of the 1960s.
Chapter Overview
In chapter one, I will examine three films directed by Tao Qin: Les Belles (1961), Love
Parade (1963), and The Dancing Millionairess (1964) to explain how the new musical genre
of Shaw Brothers incorporates signs of modernity in the films. Tao Qin was known for his
musical films and comedies when working at MP&GI. He was hired by Shaw Brothers
particularly to launch its new genre of the musicals. The three films were the very first batch
of modern Mandarin musicals. In the first attempt, Les Belles, Tao made the storyline easy to
follow. It is a back stage story in the line of romantic comedy with the leading couple played
by famous stars Chen Ho and Lin Dai. In the film the stubborn Ma Ying (played by Chen Ho)
was the leader of the dance troupe that Ran Ran (Lin Dai) was in, but they could not get
along well. However, they accidently became pen pals and fell in love without knowing each
other’s identity. They finally performed together in Japan. It was then they found out they
were each other’s pen pal. The film ended with their performance and suggested marriage.
This film is also filled with lavish singing and dancing numbers. Other than the attraction of
the stars and the luxurious numbers, Shaw Brother’s newest Easterman color and shawscope
also gave the film a more modern look than those of the MP&GI.
The well-calculated attempt and promotional strategies proved to be successful. Les
Belles was a huge success in Hong Kong, and its extravagant musical performance and
settings could almost compete with Hollywood musicals (Wu 192). Shaw Brothers
subsequently worked with Tao Qin to make two more musical films, Love Parade and The
Dancing Millionairess. Love Parade is about the marriage life of a couple of very different
personality and lifestyle. The wife, played by Lin Dai, is a hard working gynecologist while
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the husband, played by Chen Ho, is a swab fashion cloth designer. It has a romantic comedy
plot, in which the couple was always at odd with each other, with scenes of fashion shows
and musical numbers. The Dancing Millionairess on the other hand tells a love story involved
with identity misunderstanding. The film also stars Chen Ho as a talented dance performer
and Loh Thi as a CEO of the family corporation. It tells a story about staging a successful
dance performance, which eventually was supported by the rich lady, who decided to follow
her true love for dancing instead of being bounded by her duty.
I will argue that the three musical films directed by Tao Qin present a strong sense of
modernity. Other than the new screening technique, the sense is also generated by the plot,
the musical performances, and the visual style of the films. The stories of these musical films
are all related to the contemporary Hong Kong society. Les Belles and The Dancing
Millionairess are about mistaken identity, a modern issue. The two films celebrate
individualism, presenting protagonists who learn to accept their own true selves. Both Love
Parade and The Dancing Millionairess involve middle-class professionals, such medical
doctor, cloth designer, and company CEO. Besides, they present a consumer society, in which
oppositional social values became a problem. The singing and dancing performances in the
three films also provide signs of modernity to attract the audience. There are fashion shows
and stage performances of high-arts such as ballet, modernist dance, and the new dance
drama performed with a narration. These modernist performances were not available to most
audience, who could not afford them. The performances became a modern spectacle in the
film for them to see at that time. In addition, various typical dances and music numbers from
China, Japan, Malaysia, etc. are presented in these films, which provide an international
perspective for the audience. The cinematic photography and mise-en-scène help add a
modern style to the performances by intercutting among medium shots, long shots and
high-angle shots, which provide a fast rhythm and freshness for the film.
Shaw Brothers’ Mandarin musical films gradually focused on youth culture and popular
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culture around mid-60s. In chapter two, I will examine three films, namely The Lark (1965)
directed by Xue Qun and two other films directed by Umetsugu Inoue: Hong Kong Nocturne
(1967) and Hong Kong Rhapsody (1968). Director Xue Qun’s The Lark stars Ku Mei, who
was then already a famous singer. The film title “The Lark” (xiao yunque) is Ku Mei’s real
nickname. The story about a famous singer is almost a recapture of her life. It was a very
successful film with good box-office return. In this film, Little Lark enjoyed performing and
singing and had a great deal of fans. But she had to fake a smile for social engagements and
to fend off journalists who hovered around her for sensational stories of her rumored affair.
The film has several singing sequences performed by contemporary famous singers of Hong
Kong, including Mona Fong (Fang Yihua), Pan Xiuqiong, and Mai Yun. Their songs,
including those adopted from popular Shanghai songs and English songs, were widely love
by the audience in Hong Kong and were part of the attraction of the film.
To enhance the quality and quantity of genre films, Shaw Brothers recruited several
foreign directors in the mid-60s. Among them Umetsugu Inoue was undoubtedly the most
influential one. He directed seventeen feature films during the five years he worked for Shaw
Brothers from 1967 to 1971. He had abundant filming experience for genre films, especially
musical films. For example, he made Jazz musicals in Toho Company and musicals
emulating those of MGM’s when he was in Nikkatsu Corporation (Yeh and Davis 170-71).
Hong Kong Nocturne is his representative work in Shaw Brothers and one of the most praised
Mandarin musical films it produced. It tells a story about three girls, who were good at
singing and dancing but gradually found their father’s irresponsibility intolerable and decided
to move out. The eldest and youngest sisters went on to pursue their own performing career
as either a singer or a ballet dancer. The second daughter Juanjuan chose to marry a composer.
The two sisters moved back with the father after being disappointed by love. Juanjuan’s
husband died in an airplane crash. Encouraged by her mother-in-law Juanjuan performed her
husband’s songs in the TV show in memorial of him. Hong Kong Rhapsody, on the other
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hand, depicts an unlikely love story of Chen Zixin, a magician by profession and a Don Juan
in life, and an innocent young girl, whose late father asked him to take care of. The girl came
to him disguised as a boy. After her gender was known to him and finding himself attracted to
her, Zixin decided it would be better for her to stay away from him. Though his plan to make
a millionaire believe that she was his lost granddaughter failed, it all ended well with her
being accepted by the millionaire as a granddaughter and by him as his one and only love.
With these musicals, the Shaw Brothers apparently targeted a younger generation of
audience, who were greatly influenced by the western culture around the mid-60s. As
Paktong Cheuk points out, among the total population of three million, more than one million
and three hundred thousand were under fifteen years old and were attracted to movie-going
for recreation (126). This generation of young audience was familiar with the western pop
culture. I will argue that Shaw Brothers’ musical films by Xue Qun and Inoue resorted to
popular culture to cater to their taste. The stories of the three films, The Lark, Hong Kong
Nocturne, and Hong Kong Rhapsody, are all about the younger generation. The protagonists
have more complicated relationships with their friends, family, and rivals than those in the
previous musicals. Their different attitude toward love, life, and career in contrast to the older
generation is emphasized. They were courageous to pursue their dream, accept new things,
and fight for freedom. Hong Kong cinema around the period often strongly advocated an
image of the young who has a “promising future” (Qiu 166). The parents in these films do not
have much function and the families break up. We can also observe elements of western
culture through the dancing and singing sequences. In these films, we hear different types of
songs which were adapted from or composed in tunes of Mandarin popular songs (Shidaiqu)1,
western music, and Huangmei tunes. We also see dances like A-go-go or swings that were
The term “shidaiqu” follows the definition and features discussed in “Mandarin Films and Popular Songs: 40’s
-60’s.” As Law Kar designated in the introduction, the Mandarin popular songs (Shidaiqu) originated from
Shanghai and later spread into Hong Kong. Shidaiqu literally means the songs of the contemporary era, but its
essential characteristic refers to songs that widely loved and sung as a popular culture.
1
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popular in western culture and in Hong Kong. The spaces of singing and dancing are not
limited to the stage but expended to places like night club, party, or even on streets.
Furthermore, the influential media such as radio, phonograph, and TV programs are also
presented in these musical films. The popular culture and trend of western culture in these
films attracted the young audience and created a lifestyle and attitude which was full of
vitality and young spirit on screen.
In chapter three, I will point out how Shaw Brothers’ Mandarin musical films in the late
60s reflect the change of Shaw’s filmmaking policy to promote Hong Kong cinema and
“bring the East into the West” (Fu 7). The musical films not only show exotic sceneries from
different countries for viewing pleasure but also actively managed to form a global
community through presenting various themes and elements of different genres. The musical
films such as Umetsugu Inoue’s The Millionaire Chase (1969), Chang Cheh’s The Singing
Thief (1969), and Shih Mashan’s Tropicana Interlude (1969) either blend genres like
detective story, action, and romance, or provide cinematic travelling to take the audience to
different places of the world. The Millionaire Chase is about an adventure of three sisters,
who were show girls looking for the ideal rich husband. Innocent and curious about the world,
they went on an Asian tour for dancing performances and were inadvertently involved in a
jewel smuggling case in the trip. Starring Lin Chong, a singer from Taiwan, Director Chang
Cheh’s The Singing Thief was a smashing success. In the film Lin plays a nimble and
chivalrous thief-turned-singer suspected to be responsible for a recent theft of jewels. He was
force to prove his own innocence outside of the clubs. There were many battling scenes shot
like action movies, in which Lin’s movement has certain quality of dance. The film
successfully made Lin Chong a popular movie star. Shaw Brothers capitalized on this
popularity of Lin to make Lin’s second musical film, Tropicana Interlude (1969). Shi Mashan
(Koji Shima) was one of the handful Japanese directors that Shaw Brothers hired after
Umetsugu Inoue (Bordwell). Shi’s Tropicana Interlude was mostly shot in Singapore and
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Malaysia to introduce their beautiful tourist spots. The story of the film is relatively simple to
support the main attraction of tourism. It is about a tour guide played by Lin showing great
sceneries for a group of students and their teacher.
The three musical films by Shaw Brothers in this period are of very different type from
previous musicals. They mix such a diversity of genres and outdoor scenic spots that their
purpose seems very clear: to attract audience who were no longer satisfied with a pure love
story. Furthermore, the musical films depict Hong Kong as an international city well
connected to different countries. They positioned Hong Kong cinema in a more global scale.
Diversity was a key aspect in the three musical films, as the mix of genres and multitude of
film locations clearly suggest. They presupposed an audience acquainted with various film
genres, that is frequent movie-goers of the young generation. They also presumed the
majority of audience would enjoy being brought “overseas” to experience the landscape of
different countries, such as Thailand, Singapore, Malaysia, and Taiwan.
I will further argue that the post-modernism and internationalism of these films is best
exemplified by the actor Lin Chong. A singer and dancer with Taiwanese and Japanese blood,
Lin grew up in Taiwan and was signed by Toho Company to be trained as an actor for the
theater and cinema. After Lin had a successful performance in Hong Kong in 1968, Shaw
Brothers immediately signed him for The Singing Thief, which was produced particularly for
him. Chang Cheh, who was then famous for his One-Armed Swordsman (1967), was hired to
write the script and be the director for Lin. Lin Chong’s Taiwanese and Japanese background
gave him a quality of internationalism. He also had a certain wildness under his gentle
appearance. To promote Lin, Shaw Brothers intentionally associated him with Elvis Presley
to make him the icon of Hong Kong popular culture to attract the young generation of
audience. Lin also served as Shaw Brothers’ spokesperson on screen to emphasize the
positive function of entertainment and show business. By combining the musical and action
film in The Singing Thief, Shaw could reach out to both female and male audience of each
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genre. Good looking with a deft body movement, Lin was the best candidate for Shaw
Brothers’ clever attempt based on its sensitive observation of the ever changing society of
Hong Kong.
Key Words: Shaw Brothers, Hong Kong cinema, Mandarin musical, modernity, popular
culture, Lin Chong
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Works Cited
Bordwell, David. "Another Shaw Production: Anamorphic Adventures in Hong Kong." David
Bordwell's Website on Cinema. N.p., Oct. 2009. Web.
Chang, Cheh (張徹). Thirty Years of Hong Kong Cinema in Reflection (回顧香港電影三十
年). Hong Kong: Joint Publishing Co., LTD., 1997. Print
Cheuk, Paktong (卓伯棠). “Features of Cinematic Language of the Youth Films in the 60s”
(六 0 年代「青春電影」的電影語言的特色). A Study of Hong Kong Genre Films (香
港電影類型論). Hong Kong: Oxford UP, 1998. 125-152. Print.
Chung, Stephanie Po-Yin. "Moguls of the Chinese Cinema: The Story of the Shaw Brothers
in Shanghai, Hong Kong and Singapore, 1924–2002." Modern Asian Studies 41.04
(2007): 665-82. Print.
The Dancing Millionairess (萬花迎春). Dir. Tao Qin. Prod. Run Run Shaw. Perf. Loh Ti,
Peter Chen, and King Hu. Shaw Brothers, 1964. DVD.
Fu, Poshek. "The Shaw Brothers Diasporic Cinema." China Forever: The Shaw Brothers and
Diasporic Cinema. Urbana: University of Illinois Press, 2008. 1-25. Print.
Hansen, Miriam Bratu. "Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film as
Vernacular Modernism." Film Quarterly 54.1 (2000): 10-22. JSTOR. Web. 9 Sept.
2012.
Hong Kong Nocturne (香江花月夜). Dir. Umetsugu Inoue. Prod. Run Run Shaw. Perf. Cheng
Pei-pei, Lily Ho, Chin Ping, and Peter Chen. Shaw Brothers, 1967. DVD.
Hong Kong Rhapsody (花月良宵). Dir. Umetsugu Inoue. Prod. Run Run Shaw. Perf. Lee
Ching and Peter Chen. Shaw Brothers, 1968. DVD.
The Lark (小雲雀). Dir. Xue Qun. Perf. Ku Mei, Peter Chen, Kao Pao-Shu and Chiang
Kwong-Chao. Shaw Brothers, 1965.
Law, Kar. Introduction. Mandarin Films and Popular Songs: 40’s-60’s. Hong Kong: Urban
Council, 1993.
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Les Belles (千嬌百媚). Dir. Tao Qin. Prod. Runme Shaw. Perf. Lin Dai, Peter Chen, and Kao
Pao-Shu. Shaw Brothers, 1961. DVD.
Li, Siuleung. "Embracing Glocalization and Hon Kong-Made Musical Film." China Forever:
The Shaw Brothers and Diasporic Cinema. Urbana: University of Illinois Press, 2008.
74-94. Print.
Liao, Jinfeng (廖金鳳). “A Compromised Identification: Hong Kongness in Shaw Brothers’
Films in the Period of Cultural Revolution” (妥協的認同—文革時期邵氏兄弟電影的
香港性). The Cinema Empire of Shaw Brothers: The Imagination of Cultural China (邵
氏影視帝國：文化中國的想像). Taipei: Mai Tian Chu Ban, 2003. 339-355. Print.
Love Parade (花團錦簇). Dir. Tao Qin. Prod. Run Run Shaw. Perf. Lin Dai, Peter Chen, Kao
Pao-Shu, and King Hu. Shaw Brothers, 1963. DVD.
The Millionaire Chase (釣金龜). Dir. Umetsugu Inoue. Prod. Runme Shaw. Perf. Lily Ho,
Peter Chen, Ting Pei, and Chin Feng. Shaw Brothers, 1969. VCD.
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Qiu, Shuting (邱淑婷). Interrelation between Japanese and Hong Kong Film Industries:
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網絡之源). Hong Kong: Cosmos Books Ltd, 2006. Print.
Shen, Guofang (沈國芳). Ideologies and Patterns: Studies on Genre Films. (觀念與範式：類
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The Singing Thief (大盜歌王). Dir. Chang Cheh. Prod. Run Run Shaw. Perf. Lin Chong and
Lily Ho. Shaw Brothers, 1969. VCD.
Teo, Stephen. “Early Hong Kong Cinema: The Shanghai Hangover.” Hong Kong Cinema:
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---. “Shanghai Redone: Les Sing-Song Girls in Hong Kong.” Hong Kong Cinema: The Extra
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Tropicana Interlude (椰林春戀). Dir. Shi Mashan. Prod. Run Run Shaw. Perf. Lin Chong and
Lily Ho. Shaw Brothers, 1969. VCD.
Wu, Hao (吳昊). Shaw Films: Musical & Melodrama. (邵氏光影系列－文藝、歌舞、輕喜
劇) Hong Kong: Joint Publishing Co., 2005. Print.
Xu, Le (許樂). "The Changing Road of Shaw Film" (邵氏電影的轉型之路). Contemporary
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