文化藝術人物 / Cultural figure

郭南宏

大字係領域(由已登記職業/領域派生),唔係姓氏。

Joseph Kuo Nan Hung

1935年–

領域:藝術家 · 作家與觀點論述者

繁體中文

郭南宏1935年生於台灣台南,原名郭清池,又名郭泓廷,亦用藝名江冰涵與華江。1950年他畢業於高雄高級工業職業學校建築科,1955年到台北就讀亞洲電影公司影劇人員訓練班,學習編導,結業後擔任台語片的場記與副導演。1956年他獲影都影業社聘請,首次執導影片,自編自導台語片《古城恨》(1958),展開早期的台語片生涯。1959年他開始服兵役,兩年後退役,於1962年自組宏亞公司。他共執導23部台語片,其中《請君保重》(1964)叫好叫座。其後他停拍電影,入讀世界新聞專科學校電影科。1965年他應李翰祥邀請加入國聯影業公司,執導兩部改編自瓊瑤小說的彩色闊銀幕國語文藝片《明月幾時圓》(1969)與《深情比酒濃》(1967)。其後他轉到聯邦影業有限公司,執導的首部武俠片《一代劍王》(1968)在台灣與香港皆賣座,因而被邵氏兄弟公司聘請來港任導演。他為邵氏執導《劍女幽魂》(1971)與《童子功》(1972);在邵氏期間,他又在香港自組宏華公司,執導以反派角色命名的武俠片《鬼見愁》(1970),影片賣座破百萬。七十年代他活躍於港台拍攝武俠片與功夫片,作品包括《鬼見愁》續集《百忍道場》(1971)、改編自電視布袋戲《雲州大儒俠史艷文》的《大戰藏鏡人》(1971)、功夫片《鐵三角》(1972),以及塑造少林寺銅人形象的《少林寺十八銅人》(1976),其中《少》片更創下在全日本逾一百家首輪影院同時聯映的佳績。八十年代他減少執導,身負多項公職,1982年就任中華電影製片協會理事長,1987年任香港電影製作發行協會理事長。2000年他回高雄定居,曾任教香港浸會大學,近年致力在台灣訓練電影導演新人。

English

Joseph Kuo Nan-hung was born in Tainan, Taiwan, in 1935, with the original name Kuo Ching-chi and the aliases Kuo Hung-ting, Jiang Bing-han and Hua Jiang. After graduating from Kaohsiung Industrial High School in 1950, he studied screenwriting and directing at Asia Film Company's training course in Taipei from 1955, then worked as a continuity man and assistant director on Taiwanese-language films. Hired by Ying Du Film in 1956, he wrote and directed his first Taiwanese-dialect feature, Hatred in the Ancient City (1958), starting his early career in that genre. Called up for military service in 1959, he was discharged two years later and set up Hong Ya Company in 1962. He directed twenty-three Taiwanese-dialect films, among them the popular Please Take Care (1964). He then paused to study film at the World College of Journalism. In 1965 Li Han-hsiang invited him to join Grand Motion Picture, where he made two colour widescreen Mandarin romances adapted from Chiung Yao novels, When Will the Moon Be Full (1969) and Deep Love (1967). He moved to Union Film, and his first martial-arts picture, The Swordsman of All Swordsmen (1968), was a hit in both Taiwan and Hong Kong, which led Shaw Brothers to hire him to direct in Hong Kong. For Shaw he made The Ghostly Sword (1971) and The Young Boxer (1972), and while there he founded the Hong Wah company in Hong Kong and directed The Devil's Treasure (1970), named after its villain, which took over a million at the box office. Through the 1970s he worked between Hong Kong and Taiwan on martial-arts and kung fu films including the sequel The Vengeance (1971), The Big Battle with the Mirror Man (1971), The Iron Triangle (1972) and Return of the 18 Bronzemen (1976), the last of which opened simultaneously in more than a hundred first-run Japanese cinemas. Directing less in the 1980s, he held posts as chairman of the Chinese-language Filmmakers Association from 1982 and of the Hong Kong Film Production and Distribution Association from 1987. He settled in Kaohsiung in 2000, taught at Hong Kong Baptist University, and has since trained new film directors in Taiwan.

人物小檔 Profile

職業Occupation

導演、編劇、監製

年期Active period

1935年–

代表作Notable works

《古城恨》《請君保重》《明月幾時圓》《深情比酒濃》《一代劍王》《劍女幽魂》

資料整理日期 / Compiled: 2026-10-14

主要成就 Key Achievements

1958

自編自導台語片《古城恨》,展開導演生涯。

Wrote and directed his first Taiwanese-dialect feature, Hatred in the Ancient City, beginning his directing career.

1968

執導武俠片《一代劍王》,在台灣與香港賣座,因而獲邵氏聘請來港。

Directed the martial-arts hit The Swordsman of All Swordsmen, a success in Taiwan and Hong Kong that led Shaw Brothers to hire him.

1976

執導《少林寺十八銅人》,塑造少林銅人形象,並在日本逾一百家首輪影院同時聯映。

Directed Return of the 18 Bronzemen, which shaped the Shaolin bronzemen image and opened simultaneously in over a hundred first-run Japanese cinemas.

影響與傳承 Impact & Legacy

繁體中文

郭南宏由台語文藝片轉向武俠與功夫片,《一代劍王》令他獲邵氏羅致,《少林寺十八銅人》塑造的銅人形象及在日本逾一百家影院聯映的成績,把台灣武俠片推向國際市場;他亦是港台兩地電影業界的組織者與教育者。

English

Joseph Kuo moved from Taiwanese-dialect romances into martial-arts and kung fu pictures; the success of The Swordsman of All Swordsmen brought him to Shaw Brothers, while Return of the 18 Bronzemen and its run in over a hundred Japanese cinemas carried Taiwan's martial-arts cinema to international audiences. He also served as an industry organiser and a teacher of new directors.

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