(除探討兩黨如何操控文學和藝術資源，本文亦會對戰時重慶的電影及藝術文化工作者，如何非光、羅及之、許如輝、羅學濂，和夏衍等，作深入研究。)

   Filmmaking, Filmic historiography in Wartime Chongqing Cinema: Repositioning inter-Chinese Cinemas

   One of the pivotal axes in historicizing Chinese cinema(s), but largely neglected in the past was Chongqing’s role in regaining cultural resources from Shanghai in the 1930s, and retreating to Taiwan in the post-1949 era. What exactly happened to the filmmaking business and filmmakers’ working condition remains untold or insufficiently depicted.

   To better understand the ambiguity of ideological positioning and its results in determining film developments, a closer look at the policy, production, and struggles in this period is of great importance.

   New testimony and autobiographies from filmmakers of the time enabled attention to revisionist histories alongside questions of research method and archival collections. This paper aims to explore the booming historiography of the wartime Chongqing cinema. Under these conditions filmmakers and literati from both KMT and CCP camps collaborated under one roof.

   Besides entanglement of party lines manuveuring literary and artistic resources, the paper will position individual engagement in film and cultural presentation in the Chongqing context. Figures like Ho Fe-kuan (何非光), Lo Chi-chi (羅及之), Hsu Ru-hui (許如輝) , Lo Hsue-lian (羅學濂), and Xia Yen(夏衍) will be taken into account.

   戰時重慶電影：電影政策、歷史書寫、重新對焦華際電影

   在書寫中國電影歷史的過程中，重慶在戰前及戰後 (1930年代及1949 年以後) 所扮演的過渡期角色往往為人所忽略。1930年代，中國文化資源由上海移往重慶，後隨戰事結束轉移往台灣。此等轉變對電影製作以及電影工作者的工作環境有何影響至今仍未勾勒清楚。

   為進一步了解意識形態所導致的兩難狀態，以及對之後電影發展的影響，我們必須深入研究這段時期中國電影的政策、製作以及所要面對的問題。

   戰時重慶電影人的舉證和自傳的相繼推出有助於修正史觀的建立，並對相關的研究方法與史料搜集等問題有提綱挈領的作用。二戰時期，國共兩黨的電影製片人與文人在同一屋簷下互相合作。他們的作品，包括電影與文學創作，近日被廣泛研究。本文旨在檢視方興未艾的重慶電影史學。

   除探討兩黨如何操控文學和藝術資源，本文亦會對戰時重慶的電影及藝術文化工作者，如何非光、羅及之、許如輝、羅學濂，和夏衍等，作深入研究。