繁體中文
馮世雄（Raymond Fung，1955年10月1日－2005年）在香港出生，係1980年代香港電影嘅製片、策劃、編劇同導演。1980年，佢加入新藝城當助理製片，參與製作公司創業作《滑稽時代》（1980）；翌年升任製片，先後製作《追女仔》（1981）、《彩雲曲》（1982）、《難兄難弟》（1982）同《最佳拍檔大顯神通》（1983）。期內佢喺多個崗位同時發展，喺《陰陽錯》（1983）一片身兼製片、編劇同策劃三職。往後佢專注策劃同編劇工作，參與製作《開心鬼》（1984）、《聖誕快樂》（1984）、《開心鬼放暑假》（1985）等片，並喺1985年完成首部導演作品《為你鍾情》，由張國榮、李麗珍主演。八十年代中，佢同高志森、于仁泰結成搭檔，以「三人組」創作班底形式於1985年8月加盟由潘迪生創辦嘅德寶電影公司，先後策劃《痴心的我》（1986）、《富貴逼人》（1987）、《鬼馬校園》（1987）、《猛鬼佛跳牆》（1988）等片；喺《龍在江湖》（1986）同時出任策劃同編劇，並執導《八喜臨門》（1986）同《你OK我OK！》（1987）。1989年離開德寶之後，佢先後參與富藝、友禾、寰亞、電影工作室等多家公司嘅製作，喺《買起曼克頓》（1992）、《暴劫傾情》（1996）、動畫《小倩》（1997）同《K.O.雷霆一擊》（1998）出任策劃，九十年代後期淡出影圈。馮世雄嘅工作橫跨新藝城同德寶兩大陣營嘅黃金年代，見證港產喜劇由工廠式製作走向類型分工嘅過程，2005年逝世。
English
Raymond Fung (1 October 1955 – 2005) was born in Hong Kong and worked as a producer, planner, screenwriter and director in the Hong Kong film industry of the 1980s. In 1980 he joined Cinema City as an assistant producer and worked on the studio's first film, Laughing Times (1980); promoted to producer the next year, he made Chasing Girls (1981), Once Upon a Rainbow (1982), It Takes Two (1982) and Aces Go Places II (1983). Serving in several roles at once, he was producer, screenwriter and planner on Esprit d'amour (1983). He then concentrated on planning and writing, working on the Happy Ghost series, Merry Christmas (1984), and directing his first feature, For Your Heart Only, in 1985, starring Leslie Cheung and Loletta Lee. In the mid-1980s he formed a trio with Clifton Ko and Ricky Lau and joined D&B Films, founded by Dickson Poon, in August 1985, planning Devoted to You (1986), It's a Mad, Mad, Mad World (1987), The Romancing Star (1987) and Spooky, Spooky (1988); he was planner and writer on Legacy of Rage (1986) and directed Bless This House (1986) and No, No... No (1987). After leaving D&B in 1989 he worked with a number of companies, including Media Asia and Film Workshop, planning Buying Manhattan (1992), Love and Bullets (1996), the animated A Chinese Ghost Story (1997) and Knock Off (1998), and faded from the industry in the late 1990s. His career spanned the golden age of both Cinema City and D&B, and he witnessed Cantonese comedy move from factory-style production towards genre specialisation. He died in 2005.
