本文自冷戰背景考察電懋影業的都會言情片以「羅曼史」敘事寄存的文化冷戰訊息，並藉此重探張愛玲 (1920-1995) 電懋劇作《六月新娘》之跨媒介衍繹的冷戰因素。文章首先勘查電懋根植近世殖民商業系統的跨國影業性質。其後，援引「羅曼史」一詞及其指涉的情感話題與通俗文藝概念，探析電懋言情片以跨國敘事為時代隱喻，並以對美式娛樂的在地化演繹，展現其影像敘事所蘊含冷戰亞洲地緣政治訊息與資本主義修辭。最後以《六月新娘》為對象，分析張愛玲在英倫舞臺劇的藍本基礎上就浪漫愛議題的調動與改寫，進以分析電懋影像版本通過娛樂化的轉製操作，使《六月新娘》成為冷戰格局下的跨媒介羅曼史產／商品，足以輻輳冷戰亞洲通俗文藝相關課題。

This article adopts the background of the cultural Cold War to analyze the Motion Picture & General Investment Company (MP & GI)’s urban films produced in 1950s- 60s Hong Kong, investigating their westernized rhetoric fostered by the American-led cultural strategy and right-wing propaganda spreading throughout liberalized Asian areas. By referring to the term “romance” with its connotation on sentimental issues and popular literature, this article probes the political metaphor set in the transnational narratives in MP & GI’s urban-styled films. Next, this essay focuses on Eileen Chang’s 張愛玲 (1920-1995) June Bride 六月新娘, a rewritten version based on a British comedy, exploring its female-oriented narrative which puts forth romantic love as a questionable issue. By comparison, MP & GI’s version of June Bride transforms Chang’s play into a trans-medial middlebrow product/merchandise conveying the capitalistic message circulated in the Cold-War Asian “free world” in its forms of entertainment.