By looking through the lenses of urban cinema, Leung P.-K. portrays the break between socialist China and the capitalist city; and captures the social unrest and the changing complexities of Hong Kong’s cultural identity. The films highlighted by Leung show a clear distinction between the dichotomy of China and Hong Kong. Often contrasted is a representation of Hong Kong’s poor lifestyle with China’s rich culture to scrutinise immigrants and impose a strong sense of patriotism for those returning to mainland China. Thus the film inevitably questions Hong Kong’s changing identity and culture. Take the film Kaleidoscope produced by the South China Film Worker’s Union; in the first episode titled Space Is Gold, the landlady is an embodiment of greed who reaps her tenants for an advance of their rent. She reveals the “avarice and selfishness of the residents in a capitalist society.” While on the other hand, Cheung Ying, a dockyard worker from mainland China is a personification of good. He compels the protagonist to find the “inexpensive and good product.” found back home and suggests the “ill lies in Hong Kong” and that everyone should return back “home”.
Hui Jaden Tatsuya 3035987013
Your response demonstrates a good understanding of Leung’s text and how cinema in the Mainland and in Hong Kong represent ideological differences. I appreciate your illustration of the example of Kaleidoscope from the text and would like to hear more about your personal reflections of such depictions.