The paper analyzes Hong Kong cinema in the 1960s, focusing on how spatial representation, including architectural features and set design, illustrates the underlying meaning of the melodrama and noir thriller mentioned in the essay. Such cinematic expression highlights how architectural elements enhance metatheatre, serving as metaphors for broader narratives of modernity, feminism, and political activism in 1960s Hong Kong.
The cinema in the 1960s reflected the directors’ notion of modernity. They explore the concept of modernity to critique prevailing social norms and advocate for change. A notable example is the portrayal of the socialite-vigilante identity in Blackrose, which highlights the conflict between familial roles and gender equality. Such notion is expressed by the set design in the film. The contrast between the lavish living room and concealed space for crime-fighting equipment highlights the nuance of the character portrayal and perhaps their real-life counterparts.
On the flip side, The notion of metatheatre, which is the concept of altering fictional space for storytelling, helps us to engage with the spatial elements of a film. The theatricality of certain scenes, such as the implications of the elevator in social climbing, helps us to reflect on the value of spatial quality, such as directionality, scale, and temporarity through an emotional film-watching experience.
80 years after the release of the films, the social implications of the films may become less relevant, but the notion that film, spatial design, and society are interrelated is what will remain priceless.
I appreciate your response to Eunice’s text very well. There is some feedback to improve it. You can elaborate more on 1/ how ‘the social implications of the films may become less relevant’ for today and 2/ how ‘the notion that film, spatial design, and society are interrelated is what will remain priceless.’