1950年代是香港電影業的轉折點，區域性的地緣政治直接影響香港電影業的生態，而1950-56年更是左右兩派鬥爭的高峰。陸運濤從國際影業立足香港之初，已經被捲入了這場文藝界左、右之爭的洪流裏。電懋在成立初期，是在怎樣的背景下跟香港的右派影人連結的？另外，在1950年代初這個充滿巨變的時期，臺灣當局對於香港右派影人持有怎樣的態度？從張善琨、李祖永到陸運濤；從永華、新華到國際；冷戰格局的形成，如何影響香港右派影人的生存空間？張善琨所積極參與的「自由總會」如何扮演港臺的橋樑？本文從電影文化史的角度入手，以《秋瑾》（1953）、《碧血黃花》（1954）、《關山行》（1956）三部電影為中心，分析1952-1956年間地緣政局因素如何影響香港影業的發展。藉由爬疏整理跟這幾年相關的歷史材料，本文期望開拓對於電懋公司發展過程（尤其是在它初創時期）的認識，本文亦會探討臺灣在這段時期所扮演的角色，以及冷戰氛圍下香港右派影業的生存狀況。

The 1950s was a turning point for the Hong Kong film industry. The ideological struggles between the left and right camps reached a peak during 1950-1956 that directly affected the Hong Kong film industry. From the establishment of the International Film Distributors Agency in Hong Kong, Loke Wan To found himself caught up in the turmoil between the left and right camps. This article focuses on the background of Loke's MP&GI studio Studio during the early 1950s as it developed the Taiwanese film distribution market. The Hong Kong rightist filmmakers faced political hurdles from Taiwan's government during the Cold War era. The changes from Zhang Shankun and Li Zuyong to Loke Wan To, from Yung Hwa Motion Picture Studio and Xinhua to MP&GI Studio pose the question of how the Cold War environment impacted the existence of the Hong Kong right-wing filmmakers. This article delves into the role that the "Hong Kong and Kowloon Filmmakers Free General Association Limited" played as a bridge between Hong Kong and Taiwan filmmakers under the leadership of Zhang Shankun. This article starts from the perspective of cultural history on three films, The dawn of China’s revolution (1953), The 72 martyrs of Canton (1954), and Journey to Kwan Shan (1956), focusing on the analysis of how geopolitical factors influence the development of the Hong Kong film industry during 1952 to 1956. By analyzing and collecting historical materials related to the context of Hong Kong and Taiwan’s films, this article will shed light on our understanding of the early development of the MP&GI Studio's Hong Kong - Taiwan cinematic nexus. We will also explore the Taiwanese government's role and impact on Hong Kong’s right-wing film industry during the Cold War period.