“Cuts through Hong Kong” delves into the concept of Hong Kong as a liminal space, characterised by transition, uncertainty, and disorientation. Dr. Seng explores how Wong Kar-wai’s film “In the Mood for Love” captures this essence through its portrayal of love in a city. The film’s uses a spatial collage of various settings like bedrooms, hallways, streets, and corridors reflects the density and complexity of Hong Kong’s urban landscape, emphasising the intimate yet isolated nature of public spaces.
Through Wong’s cinematic techniques, such as step printing and kinetic cinematography, he creates a sense of temporal deceleration that highlights the liminal nature of love in transient spaces. There is also the use of the change of costumes of the actors to hint at the “transitional stage” Hong Kong was in during that period.
– Ray Yeung Lok Wa Jr. 3036266624
It seems that you summarize Eunice’s text rather than writing a response by your own idea. From the beginning is a very good start to situate your argument bases on the idea of ‘liminal space.’ You should focus and elaborate this idea/argument throughout your text. How this ‘liminal space’ characterized by transition, uncertainty, and disorientation. You should provide your own response/reflection/experience. And how ‘liminal space’ reflects Hong Kong’s urban landscape at that time and how about ‘liminal space’ today.