本文從國家電影（National Cinema）的角度，以《獅子城》(The Lion City, aka Bandar Raya Singapura) 這部新加坡國泰克里斯（Cathay-Keris）於1960年拍攝的、被視為「馬來亞化華語電影」開端的影片為例，嘗試分析「國家電影」這一概念在新加坡這一以華人為主、同時多種族、多語種（包括方言）社會的特殊體現及困境。文章分為三個部分：第一部分探討了國家電影應用在新加坡時產生的特殊情況。第二部分為《獅子城》的影片分析，特別強調其與同時期反映新馬風光的香港電影的區別、影片中對「馬來亞化華語電影」口號的強調、以及影片內容是如何刻畫60年代新加坡民眾的日常生活、宣傳60年代的新加坡人民行動黨在取得領導權後新加坡社會面貌的煥然一新、導演易水溫和的左翼改良派傾向以及對理想的新加坡青年的塑造。第三部分指出了《獅子城》後「馬來亞化華語電影運動」突然偃旗息鼓的現象，並分析了新加坡電影面臨的一些發展困境及其原因。

This paper studies the film The Lion City (1960) from the perspective of national cinema. The Lion City was made by the Singaporean studio Cathay-Keris and was regarded as the pioneer of the local campaign of “Chinese Language Film within Malayan Culture.”( 改为Malayanization of Chinese-language Cinema？) This paper uses this film as example to analyze the uniqueness and problems of the concept of National Cinema, when applied to Singapore such a Chinese population dominated, multi-race, multi-language (including dialect) society. The essay is consisted of three parts. The first part discusses the general situation of Singapore National Cinema. The second part focuses on the film The Lion City. Particularly, it pays attention to several issues, including the difference between this film and the contemporary Hong Kong films that also depicted Southeast Asia scenery, the reasons why the film repeatedly emphasized and advertised itself as a “Chinese Language Film within Malayan Culture,” how the film promoted the ideology of People's Action Party's contribution to a healthy Singapore society, the moderate left-side revolution ideology from the film director Yi Shui and finally, what are the image and quality of the idealized Singapore youth promoted in the film. The third part notices the phenomenon that after the film The Lion City, the campaign of “Chinese Language Film within Malayan Culture” suddenly stopped. It suggests several reasons and examines certain difficulties in the development of Singapore National Cinema.