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Cat Links 2022 Blog, Lecture 8 Sci-Fi Technoscapes

[READING RESPONSE] BLOG POST EXAMPLE

Posted on CCHU9034

Formatting Instructions: Title: [READING RESPONSE] AUTHOR’S FULL NAME Text and Notes in “paragraph” style — Your Name, Your UID in “paragraph” style Use the Chicago Style for References  Remember to tick the relevant categories (2021 blog, Lecture no. & name) and add tag (READING RESPONSE). You should do this for every blog post you make You may duplicate this post directly by going to “All Posts” on the side bar in “Dashboard” and press “Duplicate This” to follow all the formatting styles directly Find below an example of reading response from previous year: The article explores the characteristics of Hong

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Cat Links 2022 Blog, Fieldwork

[FIELDWORK] BLOG POST EXAMPLE

Posted on CCHU9034

Formatting Instructions: Title: [FIELDWORK] FILM NAME, SPACE/PLACE/BUILDING (e.g. [FIELDWORK] THE MIGHTY PEKING MAN, JARDINE HOUSE]) Film Name in Arial, 24pt, Bold, Cap Letters; Director’s Name and the Year of Film in “Heading 5” style Space/ Place/ Building Name, District, Hong Kong in “Heading 4” style 500-Word Text and Notes in “paragraph” style Add annotations for each image in “paragraph” style — Your Name, Your UID in “paragraph” style Use the Chicago Style for References  Remember to tick the relevant categories (2021 blog, FIELDWORK) and add tag (FIELDWORK). You should do this for every blog post you make You may duplicate

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Cat Links Final Video Essay

[Field-Homework 3] The Dimming City

Posted on ck030405

Video: https://youtu.be/EAhGs2UtPqQ?si=lZN2yc4YkAg0pRCZ This video aims to discover the history of neon signage in Hong Kong. In the first part of the video, I have showed some of the photos of Nathan Road and Portland Street at 1950s to 1980s, which is the heyday of neon signage in Hong Kong, to introduce the gorgeous image of the street at night when neon signage was still common to the audience so as to compare with the street view nowadays. In the second part of the video, I have showed the street view in Mong Kok nowadays to show that neon signage is

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Cat Links 2024 Blog, Lecture 8: Sci-Fi Technoscapes

[Reading Response] Imaginary CyberCities

Posted on u3626769

Reading M. Christine Boyer’s text, “The Imaginary Real World of CyberCities,” introduced me to some new perspectives on our future in modern cities. Here, I want to share my feelings about the concept of “CyberCities” and the imagination of future individuals. Boyer uses the term “CyberCities” to describe the blending of virtual and physical spaces, where the traditional understanding of geography is disrupted by digital networks. We should note that the article was written in 1992, when social media had not yet gone viral around the world. It seems that Boyer assumed that what social media would bring to people

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Cat Links Uncategorized

reading response2

Posted on u3626536

Reading Response 2 In response to the reading The Multilayered Metropolis, I began to reflect on how multilayered pedestrian systems are represented in Hong Kong, where I live, and how they resonate with cinematic depictions of the city. Hong Kong’s architecture, with its dense urban sprawl, is a maze of elevated walkways, overpasses and a complex underground network, reflecting the multi-layered concepts discussed in the document. These infrastructures not only contribute to the bustling rhythm of the city, but also have a significant impact on Hong Kong’s social interactions and cultural dynamics. From a cinematic perspective, these multi-layered spaces in

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Cat Links 2024 Blog, Lecture 9: Global Space, Time & Architecture

[Reading Response][ Cinema, Cities and the Cinematic]

Posted on fathima

The chapter delves into the interconnectedness of cinema, cities, and the cinematic experience in the context of a digital age. The author examines the dynamic relationship between urban environments and cinematic representations, emphasizing the mutual influence and impact they have on each other. It investigates how cities function as both physical and conceptual environments for films, impacting the narrative, aesthetics, and cultural representations inside them. Abbas explains how filmmakers use urban settings, architecture, and cityscapes to create unique visual and narrative experiences that represent their attitudes about urban life, cultural identities, and societal challenges. Additionally, the chapter touches upon the

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Cat Links Lecture 8: Sci-Fi Technoscapes

[Reading Response 2] Imagining Urban Futures Ho Tsz Hei

Posted on u3619305

In the reading, author Carl Abbott mentioned world of science fiction, which idea of imagining urban futures that defy our current understanding of cities.The reading presents with James Blish’s “Cities in Flight” and Stephen Baxter’s “Flood”,which are unique and captivating portrayals of mobile cities, challenging the conventional notion of traditional stationary urban centers.   How do these cities function? What are the gains and losses associated with their mobility?I think these ideas are good that challenge our preconceived notions of urbanity by exploring the possibilities of mobile cities. By examining the dynamics of these moving communities, we are prompted to

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Cat Links Lecture 7: Monsters, Materials & Skyscrapers

[Reading Response 2] Oh No, There Goes Tokyo

Posted on horace19

In the chapter, the author humorously uses ‘Oh no, there goes Tokyo… but it will be back, and it may be even better than before.’ to conclude the never-ending optimism of the Japanese towards apocalypses. However, reflecting on the newer takes in the franchise, I believe the optimism is starting to be questioned, and a new perspective is introduced in this parallel of apocalyptic imagery and real-life disaster. One iconic example is Shin Godzilla (2016) directed by Hideaki Anno. In the postwar ‘golden age’, the monster in films is merely a plot device that introduces the apocalyptic backdrop and renders

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Cat Links Lecture 8: Sci-Fi Technoscapes, Uncategorized

[Reading Response 2] – The Imaginary Real World of Cyber-Cities

Posted on u3627804

“Lag-Time Places” capture the fundamental nature of urban environments that are frequently disregarded in accounts of urban progress. These entities symbolize not only spatial voids, but also temporal disruptions, in which the progression of time appears to halt. These neglected regions are akin to misplaced puzzle pieces, estranged from the overarching blueprint of the urban environment, and abandoned to rot in the dark.It brings to mind a specific alleyway in my birthplace when I consider this notion. Nestled amidst edificing structures, this area appears to be eerily isolated from the swift urbanization that encircles it. Idnocuous to developers and pedestrians

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[Reading response 2] – Oh No, There Goes Tokyo

Posted on u3623746

The article mainly illustrated the aftereffects of the World War II on Japanese media. It mentioned that the Japanese cities were often depicted as doomed and apocalyptic due to some monster or tangible enemy, such that citizens could seek relief by watching this symbolic villain being beaten under the unity and harmony of the Japanese. Growth and change were highly valued in these films, even though the idea of utopia was out of focus. This types of disaster movies reminded me of a Japanese war anime the Grave of the Fireflies. Instead of building a fantasy non-existent world where a

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Cat Links Lecture 7: Monsters, Materials & Skyscrapers, Uncategorized

[Reading Response 2] In Search of the Ghostly Context

Posted on polinesa

The author opens up the ghostly city of Chan’s films, shedding light on low-cost public housing estate issues and marginalized society living there. In Chan’s movies, lower-class housing is depicted as haunted and desolate, “evoking ghostliness, melancholy, loss, and nostalgia” in contrast to the promoted positive depiction. These hyper-dense estates with poverty, dysfunctional families, and crimes, remained home to many people, usually powerless with a strong feeling of homelessness. Chan uses the uncanny to convey this feeling in his films. Ghosts serve as reminders of past history that haunts places and people. Not all of his films directly address characters

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Cat Links 2024 Blog, Lecture 6: Housing Stories

[Reading Response 2] Communal After-Living: Asian Ghosts and the City

Posted on u3595192

The passage analyzed three types of Asian urban horror movies, which are associated with the social-culture contexts and economic background. The first type is mainly produced in Hong Kong, Singapore and Taiwan, which has a complex relationship between the living and the dead, including ghosts fall in love with humans, revealing secrets, punish wrongdoers and so on. While the second type is about the loneliness and isolation of both ghosts and humans, mainly produced in Japan and South Korea. The reason behind it is the transformation and redevelopment towards neoliberal urban leads to the disconnection and isolation among people. The

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