ABSTRACT
This chapter explores how postwar Hong Kong leftist cinema, specifically those companies sponsored by the Chinese communist regime, viz. Great Wall, Feng Huang, Sun Luen, and Southern. Film Corporation, was under constant surveillance by three competing forces: the British colonial administration in Hong Kong; the "free world" represented by the United States and the US-backed Nationalist government in Taiwan; and the communist government in China. The chapter provides some films as examples for surveillance of film industries, both People's Republic of China (PRC) supported and leftist communist cinema. Examples are: Honoring the PRC's national flag in Woman Basketball Player No. 5 by Tianma Film Studio 1957 and Women workers on strike in Little Homemakers and the "blackening" of the worker's image in The Hut on Hilltop by Great Wall Movie Enterprise. Various forms of surveillance and control— spying, deportation, censorship, regulation of market access, media propaganda, and so on demise leftist cinema in Hong Kong and never recovered.
