The article mentions that in the mid-1950s, the two main genres of Hong Kong Cantonese films, one of which was a noir thriller showing the lifestyle of the upper class, and the other was a melodrama set in the ordinary space of the working class, reflected the transformation of Hong Kong into a modern metropolis and the difficulties and social inequalities of the city, respectively. Although the films are not as elaborate as Hollywood films in terms of narrative, styling and visual techniques, shades of a shift in film content have gradually been seen in these films.
In my opinion, it was the change in audience that led to the commercialization of Hong Kong cinema after 1950, which unfortunately lost the unique flavor of “Hong Kong films”. In the 1950s, movie-goers were workers who wanted to be entertained and rested after work. These workers would go to the cinema when they had some spending power, so many of the main characters were ordinary workers in workshops and stores, and the content of the films was mainly about daily life. However, as the new generation had greater horizons and economic opportunities, plus the need for films to compete with Mandarin films, some of the unique Hong Kong marketplace culture became invisible, and what was shown instead were Hollywood-style, commercial blockbusters with closed plots and characters with specific arcs. This lack of local flavor has created a generation of films that are regrettable.
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Liu Xinyun
It is awesome that you recognize the shifts of the Hong Kong cinematic industry by tracing back to the noir thriller in the mid-1950s. I would like to hear more reflections on how space serves for filmmaking differently in various eras, and how the loss of “Hong Kong flavor” be reflected in space and architecture. Besides, I would suggest adding more analysis of filmic techniques, like lens movement, lighting, and set design, which will help to make your writing more solid and convincing.