The title of this article seems to suggest Japan’s current situation. Using a solemn and desperate tone, the author conveys how the country is undergoing a crisis as its city has been destroyed by a terrorist attack. As the visual culture, the monster film can fully reflect Japan’s traumatic history, particularly the two atomic bombings of Hiroshima and Nagasaki. In these films, the monsters start off with less intricate details but become more defined as the plot unfolds. The term “secure horror” is used to describe how the audience is able to experience a certain level of horror while watching these films, but ultimately the horror is brought under control and defeated. These movies can also serve as a source of comfort for Japanese people, indicating that in the event of an attack, their country has the capacity to bring the situation under control. Hong Kong architecture also has many characteristics. Hong Kong architecture remains the British style and Chinese style, so we can see lots of diverse buildings in Hong Kong. Hong Kong is also a place of high spatial (housing) density, causing skyscrapers (tall buildings) and reclamation areas to be usual in Hong Kong.
Name: HUANG Hou Weng
UID: 3036088905
You briefly summarized the two texts and explained how the monster film genre connects with the historical context of Japan and the duality in architectural identity of Hong Kong. There is some mentioning of different key concepts in the texts, but perhaps focusing on elaborating a few ideas that interest you will give a more insightful response.