(Retrieved from: http://www.stefanirvine.photo/streetline-gallery)
The reading I chose to read for this response is Leung Ping Kwan’s chapter 10: Urban cinema and the cultural identity of Hong Kong – from her book ‘The Cinema of Hong Kong. History, Arts, Identity’. This reading revolves around the idea of cultural identity in Hong Kong, and how some may argue that Hong Kong’s culture is different from Chinese culture, whilst others deny the existence of a difference. It argues that the one main characteristic that distinguishes Hong Kong from mainland China is shown in the formation of urban culture, especially throughout the golden age of Hong Kong cinema.
The writer argues that the formation of Hong Kong’s cultural identity through urban spaces changes throughout the era, with urban spaces being portrayed negatively in the 50’s, whereas films in the 60’s focused on the conflicting ideologies of the East versus the West. But personally, I believe what shaped Hong Kong’s cultural identity through both film and urban spaces is largely credited to the political scene. There are some that feel that Hong Kong’s cultural identity should be merged with the mainland China; but since Hong Kong has been away from the mainland for so long, it is understandable that people in Hong Kong have developed different mentalities, ideologies and beliefs. For instance, people in Hong Kong very much have the freedom of speech, utilising platforms such as Newspapers, Radios, and now social media. This independent thinking has prompted many films scrutinising the controlling nature of the Republic of China. And in these films, the mix between the East and West are seen through the architecture, with the films highlighting the mixed and transitional characteristics of the urban spaces and its people.
Ng Chung Yan Jasmine
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