因此，本文第一章首先探討三部六零年代初期由陶秦執導的國語歌舞片：《千嬌百媚》 (1961)、《花團錦簇》(1963)、及《萬花迎春》(1964)。三部電影皆呈現一種現代社會並處理如個人主義或身分問題的現代議題。片中各式各樣的歌舞場景，不僅是視聽上的饗宴，同時也提供觀眾一種國際觀以及滿足觀眾對於新事物的嚮往。在第二章，我指出邵氏為因應香港戰後第二代青年的人口逐漸成長，將其國語歌舞片改以年輕一代作為主角。薛群的《小雲雀》(1964) 及井上梅次的《香江花月夜》(1967) 及《花月良宵》(1968) ，為三部在六零年代中期製作的歌舞電影，它們皆以年輕一代做為影片中的核心人物，代表著社會中樂觀與正面向上的精神。這些角色鞏固家庭成員之間的情感，並解決不同世代甚或不同文化所造成的衝突。此外，此時期歌舞片中的音樂表演片段融入當時的流行文化，顯示流行曲、阿哥哥舞蹈、及電視文化的普及不僅影響當代社會，並幫助形塑香港人的文化認同。在第三章，我將論證張徹導演的《大盜歌王》(1969) 及井上梅次導演的《釣金龜》(1969) 及史馬山導演的《椰林春戀》(1969) 反應六七暴動後劇烈改變的香港，當時混亂的社會尋求釋放並重新復甦經濟。這些歌舞片為了吸引不同觀眾群，在女性為中心的歌舞類型中，融合了其它片種 (如動作片) 的陽剛性與打鬥場景。刺激感與暴力都是邵氏歌舞類型中的新元素。此外，影片亦展示東南亞國家的風景及特色景點。這些戶外場景不僅呼應了當時香港發展中的旅遊業，以及香港邁向國際化都市的進程，更滿足了觀眾對於旅行即能動性的渴望。而類型混雜的多樣性及多元文化的符號，皆體現在林沖此主要演員的形象上。
In this thesis I argue that Shaw Brothers (HK) Ltd. produced modern Mandarin musicals in the 1960s, and their notable transformations in content and style well manifest their attention and reaction to the drastic social and cultural changes of contemporary Hong Kong society during the period. While Hong Kong was going through a modernization phase in the 1960s, Shaw Brothers modernized its film studios and vertically integrated production system. Furthermore, it produced its new Mandarin musicals in color and widescreen format—the forerunners of the technique. These musicals that set in modern time with colorful settings and costumes and large-scale musical numbers do not merely promote the company’s technical innovation. They present a modern society which respectively incorporates sings of modernity, popular cultures, and hybrid cultural images to quickly adapt to the modernization of Hong Kong, including its economic growth, demographic changes, and the resuscitation after the 1967 Riots. A diachronic reading of Shaw Brothers’ Mandarin musicals focuses on the modifications of the themes, characterization, and musical numbers in the existing musical film forms. The transformations of its modern musicals show the company’s sensitivity to the contemporary Hong Kong society and its audience.
Chapter one examines three musicals directed by Tao Qin, Les Belles (1961), Love Parade (1963), and The Dancing Millionairess (1964), produced in the early 60s. They responded to the modernization of Hong Kong society by picturing a version of modern life, in which the protagonists are involved in modern issues concerning individualism and identity. The dancing and singing performances of various styles not only display audio-visual attractions but also provide an international perspective to satisfy the audience’s expectation for new things. In chapter two, I point out that Shaw Brothers acknowledged the emerging population of the second generation in the post-war Hong Kong and set the protagonists as the younger generation in its musicals. In the three musicals around mid-60s, The Lark (1965) directed by Xue Qun and two other films directed by Umetsugu Inoue: Hong Kong Nocturne (1967) and Hong Kong Rhapsody (1968), the younger generation are the central figures who stand for the upbeat and positive spirits in the society. They strengthen family bonds and solve conflicts caused by oppositional values of different generations. Furthermore, the musical performances in the films incorporate the emerging popular culture. They indicate that pop songs, ago go, and television culture permeate contemporary society and help form a cultural identity for modern Hong Kong. In chapter three, I contend that Chang Cheh’s The Singing Thief (1969), Umetsugu Inoue’s The Millionaire Chase (1969), and Shih Mashan’s Tropicana Interlude (1969) react to the drastic changes in the post-riot Hong Kong that the chaotic society was anxious for releasing from oppression and reinvigorate the economy and social development. These films aim to attract different groups of audience by blending masculinity and fighting scenes from other popular genres, such as action films, in the female-centric musicals. Excitement and violence are newly added in Shaw’s musical production. In addition, they display exotic landscapes and scenic spots of other East Asian countries. The outdoor sceneries in different countries not only respond to the developing tourism in Hong Kong and its transforming into an international city but also satisfy the audience’s desire for traveling and mobility. The diversity of the mixed genre types and multi-cultural signs are embodied by the figure of the actor Lin Chong.