文化藝術人物 / Cultural figure

何鹿影

大字係領域(由已登記職業/領域派生),唔係姓氏。

Ho Look Ying

1913年–2003年

領域:藝術家

繁體中文

何鹿影祖籍浙江杭州,1913年生於當地的餘杭縣,中學畢業後十九歲便投身社會,其後加入上海明星影片公司當攝影學徒,隨張石川學習。1936年他南下香港,出任合眾影業有限公司攝影師,拍攝《時代先鋒》(1937)。抗戰期間他返回內地,重投曾任職的中國電影製片廠,拍攝不少抗戰新聞紀錄片,並拍攝史東山執導、田漢編劇的《勝利進行曲》(1940)。戰後他返港當電影攝影師,早期以粵語片為主,著名作品有《紅菱血》(1951)、《血染杜鵑紅》(1951),其布光與氣氛營造匠心獨運,是黑白攝影的經典。其後他亦拍攝國語片,期間曾留居日本半年,在東寶公司研習彩色片技術,並擔任中國首部伊士曼七彩電影《海棠紅》(1955)的攝影,又在日本拍攝局部彩色影片《櫻都艷跡》(1955)。五、六十年代他為邵氏兄弟、國際電影懋業(電懋)及國泰等公司拍攝眾多電影,憑《後門》(1960)獲第七屆亞洲電影節最佳攝影金禾獎,再憑《荷花》(1963)獲第二屆台灣金馬獎最佳黑白攝影。他從影逾半世紀,拍攝一百五十多部電影,曾與卜萬蒼、李翰祥、易文、王天林、李晨風、李鐵等名導演合作。他運鏡準確、構圖穩健,善用光、影、明、暗對比營造氣氛,有「攝影天王」美譽,其掌鏡作品還有《漢武帝夢會衛夫人》(1954)、《雪裡紅》(1956)、《梁祝恨史》(1958)、《倩女幽魂》(1960)等。他亦熱衷鑽研特效攝影。拍畢《紅粉動江湖》(1981)後退休,2003年5月30日離世。

English

Ho Look-ying was born in 1913 in Yuhang County near Hangzhou, Zhejiang. After secondary school he entered the workforce at nineteen, then joined Shanghai's Mingxing Film Company as a camera apprentice under Zhang Shichuan. In 1936 he moved south to Hong Kong as cinematographer for United Photoplay Service, shooting Vanguard of the Times (1937). During the war he returned to the mainland and rejoined the China Film Studio, shooting many wartime newsreels and Dongshan's drama March of Victory (1940), scripted by Tian Han. Back in Hong Kong after the war he filmed mainly Cantonese pictures, his lighting and mood-making in Blood-Stained Water Caltrop (1951) and Red Azalea (1951) now regarded as classics of black-and-white cinematography. He also shot Mandarin films and spent half a year in Japan studying colour technique at Toho, serving as cinematographer on Red Begonia (1955), billed as China's first Eastman Color feature, and on the partly colour Sakura no Miyako (1955). Through the 1950s and 1960s he shot numerous films for Shaw Brothers, MP & GI and Cathay, winning the Golden Harvest Award for Best Cinematography at the 7th Asian Film Festival for The Back Door (1960) and Best Black-and-White Cinematography at the 2nd Golden Horse Awards for Little Lotus (1963). Over a career of more than five decades he shot more than 150 films, working with directors such as Bu Wancang, Li Han-hsiang, Evan Yang, Wong Tin-lam and Lee Tit. Precise in camera movement and firm in composition, he was known as the 'King of Cinematographers' for his use of light and shadow; his credits also include The Dream of Lady Wei (1954), Snow Red (1956) and The Enchanting Shadow (1960). He also explored special-effects photography, retired after a 1981 picture and died on 30 May 2003.

人物小檔 Profile

職業Occupation

攝影師

年期Active period

1913年–2003年

代表作Notable works

《時代先鋒》《勝利進行曲》《紅菱血》《血染杜鵑紅》《海棠紅》《櫻都艷跡》

獎項及榮譽Awards & honours

第七屆亞洲電影節最佳攝影金禾獎(《後門》,1960);第二屆台灣金馬獎最佳黑白攝影(《荷花》,1963)

資料整理日期 / Compiled: 2026-10-14

主要成就 Key Achievements

1936

南下香港出任合眾影業攝影師,拍攝《時代先鋒》(1937)。

Moved to Hong Kong as United Photoplay Service's cinematographer, shooting Vanguard of the Times (1937).

1960

憑《後門》獲第七屆亞洲電影節最佳攝影金禾獎。

Won the Golden Harvest Award for Best Cinematography at the 7th Asian Film Festival for The Back Door.

1963

憑《荷花》獲第二屆台灣金馬獎最佳黑白攝影。

Won Best Black-and-White Cinematography at the 2nd Golden Horse Awards for Little Lotus.

影響與傳承 Impact & Legacy

繁體中文

何鹿影以《紅菱血》、《血染杜鵑紅》等片的布光與氣氛營造,樹立了香港黑白攝影的標杆,並憑《後門》與《荷花》在亞洲影展及金馬獎獲攝影獎;他從影逾半世紀、拍攝一百五十多部電影,見證國、粵語片的發展,其急劇明暗對比的風格帶有黑色電影味道。

English

Through the lighting and mood of films such as Blood-Stained Water Caltrop and Red Azalea, Ho Look-ying set a benchmark for Hong Kong black-and-white cinematography, winning festival and Golden Horse awards for The Back Door and Little Lotus. With more than 150 films over half a century he documented the growth of Mandarin and Cantonese cinema, his high-contrast style carrying a distinctly noir flavour.

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