[Field-Homework 3] The Afterglow of Hong Kong’s Neon Light.

Introduction This video will revolve around the concept of the disappearing neon lights in Hong Kong, hence it is also named “The Afterglow of Hong Kong’s Neon Light”. We set the filming background in Yau Ma Tei, an area where neon lights were once the most dazzling. The theme of the video is the gradually disappearing neon lights, which reflect the changes in Hong Kong culture and image in the context of rapid social development, as well as people’s emotions and views on the passing of neon lights. Literature Review The iconic neon lights of Hong Kong have served as

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Reading Response2:L7,2010,Oh NO,There goes Tokyo

In the paper, Tsutsui W.M. employed a multidimensional analytical approach to explore the description of the catastrophic end of Tokyo. Firstly, the author thoroughly analyzes various works in post-war Japanese popular culture, such as movies, comics, animations, and electronic games, to sort out the common themes and symbolic meanings about the destruction of Tokyo in these works. Through these popular cultural works, Tsutsui reveals the deep fear and anxiety of the public towards urban disasters, technological runaways, and natural disasters. Revealing this destructive aesthetic and its potential social, historical, and political implications. This study not only explores the phenomenon of

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Moving House Reflection–xujun

The film revolves around social workers helping the elderly move, often through dialogue to advance the plot. When the elderly move out of public housing, they must try their best to excavate and take away the belongings left by their ancestors, reflecting the tradition of Hong Kong elderly people and their respect for their ancestors. But when we delve deeper, the elderly’s move is the help of social workers and their own actions, with few children, which also indirectly highlights the unfortunate situation of elderly people living alone in public housing and the enthusiasm of social workers.

Workshop2-exercise xujun

After wandering for more than four hours, the character finally feels a bit tired, arbitrarily sits down at a corner at 3:30am midnight. It was drizzling before, but all of the sudden giant water drops hit his/her head, body and face… He/she just stands still, letting the torrential rain pour all over. Compared with what had happened four hours ago, this impact is nothing, right? Comment:Although both images can show the sad appearance of men in the rain after feeling tired, it seems that the reasons for their fatigue are not the same. The glass door and the hat on

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Reading response for L2 (Lee,1999)

This article intricately explores the symbiosis between urban spaces and cinematic narratives, particularly in the context of Shanghai’s architectural and urban development. Firstly, the depiction of modern architecture as a cinematic backdrop not only frames the urban milieu but also elevates the city itself into a narrative entity. This portrayal goes beyond mere setting, embedding the city’s evolving identity within the storyline, thereby reflecting and influencing perceptions of urbanity. The narrative of urban life through everyday spaces is another compelling aspect. Through the cinematic lens, these spaces become arenas where the drama of ordinary lives unfolds, offering a visceral connection

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