@article{oai:nagoya.repo.nii.ac.jp:02002394,
 author = {蘇, 涛 and SU, Tao and 陳, 悦},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {Yueh Feng is an important film director in Chinese film history who is also representative of the “filmmakers who went south” from Shanghai. He has been given five seemingly contradictory titles: a “progressive film director,” a maker of “erotic films,” a “turncoat” filmmaker, a Hong Kong “patriotic filmmaker,” and a “free filmmaker.” As these titles suggest, there were three important turning points in his life as a film director. Yueh Feng’s case is a classic example of a filmmaker who was forced to make decisions while being at the mercy of history and suffered because of these decisions. He also symbolizes both the continuity between pre-war/wartime Shanghai films and postwar Hong Kong films, as well as their disconnection. First, Yueh Feng went to Hong Kong and opened a new page of his career by making film noir productions. He also shot many films with anti-feudalist and anti-capitalist themes at the Great Wall Filmmaking Company and used his art to convey his political convictions through a well-balanced style of artistic expression. After the mid-1950s, while working at the Cathay Organization and Shaw Brothers, explicit ideological slogans began to vanish from his films. Instead, these films have a strong tendency to hark back to traditional culture as an artistic resource. By creating a classic Chinese image and affirming traditional ethical morals, he aimed to arouse the ethnic sentiments of oversea Chinese viewers. Although this artistic reorientation was in line with the cultural strategy of Hong Kong’s mandarin cinema films produced against the historical backdrop of the Cold War, it also reveals the ambiguous nature of the historical imagination of “southbound filmmakers,” while expressing the nostalgic sentiments of the diaspora., 陳悦（訳）},
 pages = {56--69},
 title = {歴史の渦のなかを行く : 岳楓（ユエ・フォン）の上海と香港における映画人生},
 volume = {13},
 year = {2022}
}