The complexity of the cultural identity of Hong Kong is an inevitable topic in local artistic works – whether this capitalist colonial city is separate or one part of the socialist Chinese culture. By comparing movies in different phases, Leung Ping-Kwan then discussed the formation of Hong Kong urban culture and the re-definition of cultural identity expressed in films following that. I am amazed by the idea that cinema not only expresses the views of the city but also plays an essential role in its formation. Instead of passively recording the changes in the city, cinema suggests new angles and insights and eventually changes people’s perspectives of their city.
Hong Kong is such a place full of foreigners, so an atmosphere of unease is pervasive here. Although many Hong Kong people have tried their best to create their own “Hong Kong spirit” by embracing multiculturalism, the anxiety and uncertainty have never gone. One example is that in the film Chungking Express, a city of changing sentiments and architectural outlooks is shown, and the uneasiness is reflected in the film’s sets. Most of them are closed but mobile and unstable, such as bars, hotels and escalators; they are easily intruded on. For example, in Cop 663 (Tony Leung) ‘s room, outside the window is an escalator where people come and go, and Faye (Faye Wong) can go in and out at will. This set represents that they are easily disturbed and violated, and the insecure people in Hong Kong are seeking a place like home.
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I appreciate your in-depth reflection on the history that film being utilized as a tool for reinforcing culture establishment. In view of this, please further reflect and elaborate on how space and architecture serve as a spatial representation to demonstrate the cultural hybridity, Chinese and British/Western culture or the so-called “Hong Kong spirit”. Also, were how colonized and East-West hybrid cultural identities shaped by film? Moreover, I would suggest anchoring your discussion to reading(s).