1. Hong Kong Film Archive has taken the lead in drawing attention to the important contributions of the Cathay-MP&GI to Chinese cinemas by organizing a retrospective on some of its most famous films in 2002. At the same time it brought together a group of film critics, essayists and scholars to publish an anthology which remains the most comprehensive critical study of the company. See Wong Ain-ling ed., The Cathay Story (Hong Kong: Hong Kong Film Archive, 2002 ).

2. See Wong Siu-lun, Emigrant Entrepreneurs: Shanghai Industrialists in Hong Kong (Hong Kong: Oxford University Press, 1988), pp. 3 and 23.

3. See Wong Ainling ed., Lixiang niandai (An Age of Idealism) (Hong Kong: Hong Kong Film Archive, 2001), pp. 8-10.

4. “Guoyu dianying mianlin de kunlan” (Difficulties Facing Mandarin Cinema), Guoji dianying, n.1 (Oct. 1955), pp. 41-42 and 50-51.

5. Guoji dianying, n.8 (Aug. 1956), pp. 40-41.

6. Lan Rutie, “Shei shuo Xianggang ziyou yingren meiyou gongzuo biaoxian” (It’s Wrong to Accuse Hong Kong Freedom Filmmakers Not Making Contribution), Guoji dianying, n.2 (Nov. 1955), pp. 42 and 52; see also Guoji dianying, n.1 (Oct. 1955), pp. 46-47.

7. “Guoyu dianying,” pp. 50-51; and Guoji dianying, n.6 (Jan. 1956), p.56.

8. Ibid.

9. See Lim Kay Tong, Cathay: 55 Years of Cinema (Singapore: Landmark Books, 1991), pp. 1-20; and Lynn Pan, Sons of the Yellow Emperor: A History of the Chinese Diaspora (Boston: Little, Brown and Company, 1990), pp. 185-190.

10. Quoted from Lu Haitian, “Chongshang de lixiang” (Lofty Ideal), Guoji dianying, n.3 (Dec. 1955), p. 10.

11. Guoji dianying, n.25 (Nov. 1957), pp. 56-57; n.16 (Feb. 1957), pp. 2-3; n.2 (Nov. 1955), pp. 6-7; and n.3 (Dec. 1955), pp. 10-11.

12. Cathay, p.27.

13. Law Kar, “A Glimpse of MP&GI’s Creative/Production Situation: Some Speculations and Doubts” and Shu Kei, “Notes on MP&GI” in Wong Ailing ed, The Cathay Story, Hong Kong: Hong Kong Film Archive, 2002.

14. See, for example, “Dian Mou and MP & GI,” pp. 150-153.

15. Wang Gungwu, China and The Chinese Overseas (Singapore: Times Academic Press, 1991), pp. 160-180 and 190-221.

16. Sha Rongfeng, Binfen dianying sishi chun (Forty Years of Cinema) (Taipei: Guojia dianying zhiliao guan, 1994), pp.30-33; According to Yeh Yueh-yu, Loke loaned a total of over $500,000 to Yonghua, see her “Taiwan: The Transnational Battlefield of Cathay and Shaws,” in The Cathay Story, p. 145. .

17. Guoji dianying, n.20 (June 1957), p. 37.

18. See, for example, Gao Shanyue, “Kong zhong xiaojie bieyou yongxin” (The Real Intention of Air Hostess), Da gong bao, June 10, 1959.

19. He Guan “Kong zhong xiaojie” (Air Hostess), Xin sheng wanbao June 14, 1959.

20. Yeh Yueh-yu, “Taiwan: The Transnational Battlefield of Cathay and Shaws” in Wang Ainling, The Story of Cathay, pp. 146-148.

21. See Cathay, pp.56-65.

22. See “Dian Mou: MP & GI;”Du Yunzhi, Zhongguo dianying shi (A History of Chinese Cinema) (Taipei: Commercial Press , 1986), v.3, pp. 123-135; and Binfen dianying sishi chun, pp. 35-52.

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