文化藝術人物 / Cultural figure

陳韻文

大字係領域(由已登記職業/領域派生),唔係姓氏。

Joyce Chan

1970年代至今

領域:作家與觀點論述者

繁體中文

陳韻文(Joyce Chan),廣東新會人,在香港出生。她曾就讀新亞書院外文系,之後到美國及英國遊學。回港後她任職廣告公司,並在香港商業電台及香港電台擔任音樂節目主持人,早期曾於不同文學雜誌及《香港映畫》等刊物投稿。1973年她加入電視廣播有限公司(無綫電視)宣傳部,後轉至戲劇組任編劇,寫下《相見好》、《狂潮》、《家變》、《群星譜》、《北斗星》、《七女性》、《CID》等劇集,亦為香港電台編寫《獅子山下》、《屋簷下》,並為廉政公署編寫《ICAC》。1978年,她分別為佳藝電視及麗的電視編寫《名流情史》及《追族》等劇集。 1974年,她為桂治洪導演的《鬼眼》構思故事並撰寫劇本初稿;1979年正式涉足電影界,編寫《牆內牆外》(與何家駒、陳欣健、于仁泰合編,1979)、《瘋劫》(1979)、《有你冇你》(與周梁淑怡合編,1980)、《撞到正》(1980)、《愛殺》(1981)、《烈火青春》(與邱剛健、方令正等合編,1982)等。同年,她應美國愛荷華大學「國際寫作計劃」(International Writers Program)邀請成為駐校作家。1982年她參與丈夫李國松製作的紀錄長片《血的紀錄》後期製作。1984年寫成《雪兒》劇本後移居法國,仍為香港電台劇集《香江歲月》撰寫劇本。九十年代,她編寫《錯愛》(與陳耀成合編,1994)、《正乞兒!》(1994)、《南京的基督》(1995)等電影劇本。她亦活躍文壇,曾為報刊撰寫專欄及連載小說,著作有小說《終與始》、《南京的基督》、《滴血不留》及散文集《韻文集》、《長短句》等。她現定居加拿大。

English

Joyce Chan, a native of Xinhui in Guangdong, was born in Hong Kong, studied in the foreign languages department of New Asia College and later toured the United States and Britain for further study. Back home she worked at an advertising agency and hosted music programmes on Commercial Radio Hong Kong and Radio Television Hong Kong, having earlier contributed to literary magazines and publications such as Hong Kong Movie News. Joining Television Broadcasts (TVB)'s publicity unit in 1973, she moved to its drama division as a screenwriter and scripted such series as Tea for Two, Hotel, A House Is Not a Home, Superstar Special, Social Worker, Seven Women and C.I.D., as well as Below the Lion Rock and Under the Same Roof for RTHK and a series for the Independent Commission Against Corruption. In 1978 she wrote Love Affair for Commercial Television and In Cold Blood for Rediffusion Television. She conceived the story and drafted the screenplay of Kuei Chih-hung's Ghost Eyes in 1974, and entered cinema in 1979, scripting The Servants (1979), The Secret (1979), No Big Deal (1980), The Spooky Bunch (1980), Love Massacre (1981) and Nomad (1982). That year she was invited to be a writer-in-residence under the International Writers Program at the University of Iowa. In 1982 she worked on the post-production of Record of Blood, a documentary produced by her husband Lee Kwok-chung, and after writing Cherie in 1984 she moved to France, continuing to script the RTHK series Miracle of Orient. In the 1990s she completed Crossings (1994), Give & Take... Oh! Shit! (1994) and The Christ of Nanjing (1995). Also active in literature, with newspaper columns, serialised fiction and several books, she now lives in Canada.

人物小檔 Profile

職業Occupation

編劇

年期Active period

1970年代至今

代表作Notable works

《瘋劫》(1979)、《撞到正》(1980)、《烈火青春》(1982)

資料整理日期 / Compiled: 2026-10-14

主要成就 Key Achievements

1973

加入電視廣播有限公司戲劇組任編劇,編寫《狂潮》、《家變》等長劇

Joined TVB's drama division as a screenwriter on long serials such as Hotel and A House Is Not a Home

1979

編寫《瘋劫》,與許鞍華的電影首作一同為香港電影新浪潮揭幕

Wrote The Secret, which with Ann Hui's debut helped open the Hong Kong New Wave

1984

寫成《雪兒》劇本後移居法國,仍為劇集《香江歲月》撰寫劇本

After scripting Cherie she moved to France, still writing the series Miracle of Orient

影響與傳承 Impact & Legacy

繁體中文

陳韻文的電視劇本如《狂潮》、《家變》為七十年代香港長劇確立敘事格局,電影劇本《瘋劫》、《撞到正》又成為香港新浪潮的重要文本。她在電視與電影兩個領域的創作,影響了其後香港編劇的寫實與類型探索。

English

Joyce Chan's television scripts such as Hotel and A House Is Not a Home helped set the narrative pattern of Hong Kong's long-form serials in the 1970s, while film scripts like The Secret and The Spooky Bunch became key texts of the Hong Kong New Wave. Her work across both television and cinema shaped later generations of Hong Kong screenwriters in their realist and genre explorations.

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