| In the territory of Chinese and world films,Hong Kong films with distinctive regional and cultural characteristics,especially martial arts,kungfu,comedy,gangsters,police and bandits,crime films,etc.since the 1960 s and 1970 s,have received the concentrated attention and research of scholars at home and abroad;On the other hand,there is a lack of specialized and systematic research on the investigation of Hong Kong’s Romance films,which is in great contrast to the large number of film reality situations in Hong Kong’s film creation that show the theme of love.For Romance films,in terms of genre cognition,because Romance films are often mixed or mixed with other genres;This "genre mixing" characteristic is also very distinct in the creation of Hong Kong Romance films.Therefore,from the perspective of "genre mixing",we investigate Hong Kong Romance films,sort out the different love styles and patterns that their creation of love theme content presents in different genre mixing contexts.Through the investigation and analysis of the main "genre mixing" patterns and their development and evolution of Hong Kong Romance films,we can provide a comprehensive perspective on the genre creation and cultural representation of Hong Kong Romance movies,which constitutes the main idea of this paper’s comprehensive investigation of Hong Kong Romance films.However,based on the reality that the existing early Hong Kong film texts and related materials are relatively scarce,this paper does not take a look at the early Hong Kong Romance films(1914-1945),and selects the Hong Kong Romance films creation from1946 to 2022,and takes the Mandarin Romance films 、Cantonese Romance films in this period as the analysis object.In addition to the introduction and conclusion,this paper has four chapters.The first chapter is mainly to sort out and define the main "genre mixing" patterns of Hong Kong Romance films from the perspective of "genre mixing",combining with the main film genres and genre creation trends in the history of Hong Kong film development.Through carding and investigating,this paper mainly analyzes the creation of Hong Kong Romance films from the "genre mixing" of Romance films and literary films,comedy films,musicals films and fantasy films,and believes that the "literary romance films,comedy romance films,musicals romance films,fantasy romance films" form the main makeup of Hong Kong Romance films creation.The second chapter,on the basis of sorting out the main "genre mixing" of Romance films in Hong Kong,divides the historical context of different Romance films and clarifies their development and evolution in different historical situations.It also believes that the creation of Romance films in Hong Kong after the war,in the 1950 s to1960s,1980 s to 1990 s,was the climax of its genre creation;The 1970 s was its downturn;Since the new millennium,especially since the signing of the CEPA agreement in 2003,the creation of Hong Kong Romance films has entered a period of co-production and local focus.Although they have different creative reflections in different historical periods,and their types are constantly changing,in terms of the overall Hong Kong Romance films style,literary romance films and comedy romance films have become the main types of post-war Hong Kong Romance films creation,which has leaped the downturn and climax of Hong Kong Romance films creation and become a continuation type of the whole period.In addition,literary romance films and comedy romance films also represent two types of Hong Kong films to a certain extent: comedy romance films correspond to more commercial Hong Kong film types,and literary romance films correspond to Hong Kong film types with certain cultural or artistic characteristics.Their development and evolution have also become an important reference for the perspective of the emotional and cultural changes of Hong Kong Romance films.The third chapter looks into the emotional and cultural context of Hong Kong’s Romance films in different historical situations from the evolution of their types.This article believes that the Romance films in Hong Kong before the 1980 s,the emotional presentation of love,under the constraints of ethics and morality,has a distinct "emotional regulation" characteristic;After entering the 1980 s,the emotional presentation of Hong Kong Romance films has shifted from the former "emotional regulation" to the "emotional supremacy" characteristic,and under the cultural meaning of postmodernism,a trend of "post-emotionalism" has formed,but it has not shaken the "emotional supremacy" characteristic.In general,the evolution of Hong Kong Romance films in different historical contexts has shown a historical change from "emotional regulation" to "emotional supremacy".The core expression of its emotional change is the highlight and pursuit of love supremacy and individual freedom.The fourth chapter analyzes the cultural identity of Hong Kong Romance films from their type evolution.This article believes in the creation of Hong Kong’s Romance films before the 1980 s,mainly showed the transition from motherhood to native Hong Kong,The cultural characteristics of the motherland are mainly reflected in the nostalgia of the motherland and the imagination of cultural China shown in the Hong Kong Romance films at that time;At the same time,with the historical evolution of Hong Kong’s social culture,Hong Kong’s local consciousness has gradually developed since the middle and late 1960 s,and to a certain extent,it has accelerated the emergence and modern transformation of Hong Kong’s local cultural identity.This kind of local cultural identity in Hong Kong has a relatively prominent reflection in Hong Kong Romance films in the1980 s to 1990s;The issue of the return of 1997 and the prosperity of Hong Kong’s local pop culture have all reflected the localization of Hong Kong people and Hong Kong consciousness in the creation of Hong Kong Romance films.Since 2003,with the creation of Hong Kong Romance films entering the new situation of co-production,Hong Kong’s local cultural identity has begun to take on two forms,namely,the deepening of integration with the mother culture of the motherland and the diversification of cultural identity,and there are certain differences in the cultural representation of co-production films and Hong Kong’s local Romance films.In general,this paper reviews the Hong Kong Romance films from 1946 to 2022,combs out their type patterns and development and evolution from the perspective of mixed types,and makes a correlation analysis with the social,economic,political and cultural changes of Hong Kong at that time,with a view to making a relatively detailed and systematic study of the type creation and cultural changes of Hong Kong Romance films during this period. |
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