Author: Ziyi

Cat Links 2024 Blog, Final Video Essay

[Field-Homework 3] Disappearing City: Graham Street Market, Central

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Video Link:  https://youtu.be/BWN082XjED4   Text:  Graham Street Market, situated in the heart of Central on Hong Kong Island, stands as one of the oldest and most vibrant traditional urban markets in the city. Established during the colonial era in the mid-19th century, the market has been a bustling hub of communal interaction and commerce for over 160 years. Here, locals and tourists alike delve into its narrow lanes filled with stalls bursting with fresh produce, seafood, and traditional Chinese goods. Despite the relentless march of modernization, with towering skyscrapers and ongoing construction encroaching upon its space, Graham Street Market retains

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Cat Links 2024 Blog, Lecture 6: Housing Stories

[Reading Response 2] Communal After-Living: Asian Ghosts and the City

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I have always been aware of the expressive power of films, with their 24 frames per second, in visually conveying emotions, ideas, and exploring various topics and issues through narratives, characters, and other cinematic elements. However, it wasn’t until I finished reading this article that I truly realized the potential for using the element of ghosts in films to represent and reflect upon social issues addressed by directors.   The article’s insightful discussion revolves around three distinct social issues depicted in films set in different cities or regions, each with its unique historical and economic background. In particular, I want

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Cat Links 2024 Blog, Lecture 4: Everyday Spaces as Narrative

[Reading Response] Cuts through Hong Kong: the spatial collage of In the Mood for Love

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Said Professor Seng, the film In The Mood For Love is a spatial collage of many different places and environments, especially domestic and public ones. The interconnected spaces created and shot in the film not only present a typical Hong Kong urban landscape in the 1960s but, most importantly, they visualize the character’s complex emotions and reflect the context of migration and diaspora of Hong Kong in the 1960s. Regarding depicting characters’ emotions, the film utilizes some private and intimate spaces like bedrooms to amplify the emotional vulnerability and isolation of the characters, for instance, the compact quarters of the

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