Relentless Melt: visual trends and aesthetics of contemporary visual music films in Hong Kong

Abstract

In recent years, a growing trend of abstract and experimental animation has emerged in Hong Kong, with an increasing number of works produced over the last two decades, particularly since around 2015. This article examines how Hong Kong artists approach abstract animation, the predominant aesthetic trends, and how these trends relate to or diverge from Western traditions in visual music, following pioneers such as Hans Richter, Viking Eggeling, Oskar Fischinger, Harry Smith and Norman McLaren. Employing content analysis, as used by Emmanouil Kanellos (2018) and textual analysis, this study investigates 95 selected works from the Relentless Melt screening series curated by Max Hattler and organized by the Hong Kong-based society Relentless Melt. By categorizing the data under two separate systems – the ‘What System’ and the ‘Where System’, as suggested by Margaret Livingstone in Vision and Art: The Biology of Seeing (2002) – the analysis encompasses aspects related to the perception or recognition of objects, faces, or other properties under the ‘What System’, and the perception of motion, depth, spatial organization and figure/ground segregation under the ‘Where System’. Unlike pioneering visual music artists who largely abandoned mimetic constructions in their aesthetics, some Hong Kong artists employ various types of representational abstraction. In addition, many do not shy away from expressing concepts or narratives in their hybrid visual music works while retaining fundamental elements, such as audio-visual synchronization. This project represents an initial step towards a more systematic understanding of Hong Kong’s visual music practices, aiming to promote plurality over homogeneity by critically examining the multiple facets of artistic practice in Hong Kong. It is hoped that this study will contribute to international scholarly discourse and establish a trajectory for further exploration.