1970年代臺灣香港言情文藝片的分流

The Romantic Melodrama of Hong Kong and Taiwan in the 1970s: Going Separate Ways

依達是1960至1970年代香港言情小說家中，作品被改編成電影最成功的一位。1970年代臺灣香港兩地對依達小說的改編，既反映到兩地影業緊密合作的一面，又反映到兩地電影一些作風上的差異。依達電影在西化的表面下，對於述說妓女故事的《茶花女》中國言情文藝片感傷傳統有其承襲之處，但他一些作品以性別位置顛倒的方式作出了變革。作為對照，臺灣作家瓊瑤的作品及其改編開始擺脫妓女故事的傳統，創立出新的故事模式，二人的差異，也構成1970年代香港和臺灣言情文藝片的一個重要分野。 Yida was one of the most successful Hong Kong romance novelists in the 1960s and 1970s. The film adaptation of Yida's novels in both Taiwan and Hong Kong in the 1970s reflected the close cooperation between the film industry as well as the differences in styles in these two places. Under the surface of Westernization, Yida films have inherited the sentimental traditions of the Chinese romantic melodrama movies that describe the famous prostitutes' stories originated from the classic “La Traviata.” However, some of his works have changed in a way that, for example, kept men replaced female prostitute. As a contrast, the literary works of Taiwanese writer Qiong Yao and the films adapted from her later novels began to get rid of the tradition of prostitutes and created a new mode of storytelling. The differences between the two novelists also marks an important distinction between Hong Kong and Taiwan's romantic melodrama films in the 1970s.

Yida was one of the most successful Hong Kong romance novelists in the 1960s and 1970s. The film adaptation of Yida's novels in both Taiwan and Hong Kong in the 1970s reflected the close cooperation between the film industry as well as the differences in styles in these two places. Under the surface of Westernization, Yida films have inherited the sentimental traditions of the Chinese romantic melodrama movies that describe the famous prostitutes' stories originated from the classic “La Traviata.” However, some of his works have changed in a way that, for example, kept men replaced female prostitute. As a contrast, the literary works of Taiwanese writer Qiong Yao and the films adapted from her later novels began to get rid of the tradition of prostitutes and created a new mode of storytelling. The differences between the two novelists also marks an important distinction between Hong Kong and Taiwan's romantic melodrama films in the 1970s.