An Aesthetic Analysis Of The Melodrama Movies In Hong Kong Since Its Return To China

As an important event in Hong Kong's history,its return to China in 1997 has exerted great influence on the themes and styles of Hone Kong film.This decade(since its return to China)is a period of both frustration and transformation for Hong Kong film.Through an analysis of the themes,styles, visual-audio language and aesthetic influence in Hone Kong' s melodrama movies,we can know its trace of development and its influence and position in Hong Kong film and even in Chinese film.The themes of Hone Kong's melodrama movies come partly from inheritance and partly from change among which stand the following four:inheriting the "nostalgic" fashion before Hong Kong's return,paying attention to homosexuality, exploiting love in plural ways,and depicting commoners' spiritual situation.Through the analysis of works by such representative directors as Wang Jiawei,Xu Anhua and Peng Haoxiang etc., we find that Hone Kong's melodrama movies is of the nonlinear logic in plot and of the mixture of various types, and both its realistic and romantic subdivision have undergone a transformation from the tradition to the modernity.The main causes of the above-mentioned styles of Hone Kong's melodrama movies lie in the comprehensiveness of culture,the diversity of talents,and the commercialization of movies.Hone Kong's melodrama movies has shaped its characteristics in visual language,including colors and picture composition,and in music,including background music and interludes.The famous directors such as Wang Jiawei,Chen Guo and Xu Anhua take different attitude toward the artistic and commercial aspect of film,therefore their works meet different acceptance.Hong Kong's melodrama movies has influenced considerably on other types of Hong Kong film, for example gangster film,comedy film,while somewhat on love film of mainland China.