因應1949 年以後政治氣候的變化、陣營內部的調整以及香港政府的 政治壓力，戰後香港第一波左翼電影如《珠江淚》（1950）、《羊城恨史》 （1951）、《小二黑結婚》（1950）等所提出的「反帝」、「反封建」與階級鬥 爭等鮮明的政治訊息，在1952 年以後出品的戰後第二波左翼電影中淡化 下來，轉以較隱晦的方式表達。《父慈子孝》（1953）透過倫理主題的故 事，細寫革命陣營內部的動搖；《桃李滿天下》（1954）在海外華僑教育 問題以外，更思考革命路線的掙扎，提出更複雜的問題；改編自茅盾同 名小說的《虹》（1960）則把革命話語隱密化，卻由於觀眾心領神會而成 了開放的隱語。戰後香港第二波左翼電影由於政治路線的變化、港府的 壓力、商業市場的考慮等因素，比前期表達了更曲折迂迴的革命話語。 本論文擬以此三部影片為例子，探討戰後香港第二波左翼電影的革命話 語，包括革命陣營內部的分歧、革命路線和策略的反思、革命話語的傳 遞等。

Compared with the first wave of post-war leftist films such as Dawn Must Come (1950), Old Memories of Canton (1951) and Peasant Takes a Wife (1950), the second wave films produced after 1952 expressed toned-down political messages of “anti-imperialism” and “anti-feudalism,” with direct propaganda replaced by subtler and oblique expression, due to political changes, internal reforms within the leftist camp, and political pressure from the HK Government after 1949. This essay explores the revolutionary discourse in these second wave leftist films that deal with internal disagreements, rethinking of revolutionary strategies and directions, and the dissemination of revolutionary discourse, by focusing on the following three films as examples. Loving Father, Faithful Son (1953) is an exposition of the struggles within the revolutionary camp under the disguise of a moral story. A Teacher’s Reward (1954) deals with the more complicated issue of the struggle between different revolutionary directions underneath its surface story on the education for overseas Chinese. And in Rainbow (1960), an adaptation of the eponymous novel by Mao Dun, the revolutionary discourse is told in a more elusive, metaphorical manner, the message of which, however, local audiences have no difficulty in deciphering. Due to factors such as changes in the larger political situation, pressure from the Hong Kong Government, and commercial consideration, the revolutionary discourse is in general expressed in more implicit ways in these second wave leftist films of Hong Kong.