Author: Sui Tsit

Cat Links Final Video Essay, Uncategorized

[Field-Homework 3] Ghastly City – [Video Essay] Ghastly City: the Sheung Wan MTR station and the Central-Western District

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Link: https://youtu.be/keA98Hq0m0w The theme of the video essay is “Ghastly City”. Ghastly, in this project, does not equate to literally haunted, but instead it depicts the high stress and lack of personal development that most of the working class in Hong Kong are currently experiencing, thus raises the question of whether Hong Kong’s international financial centre status hinders the cultural diversity of Hong Kong. MTR stations are utilized as a medium to show the repetitiveness and high functionality of the city’s work culture, with most MTR lines having a frequency of 2-3 minutes per train on weekdays. The film adopts

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Cat Links Uncategorized

[Reading response 2] – Oh No, There Goes Tokyo

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The article mainly illustrated the aftereffects of the World War II on Japanese media. It mentioned that the Japanese cities were often depicted as doomed and apocalyptic due to some monster or tangible enemy, such that citizens could seek relief by watching this symbolic villain being beaten under the unity and harmony of the Japanese. Growth and change were highly valued in these films, even though the idea of utopia was out of focus. This types of disaster movies reminded me of a Japanese war anime the Grave of the Fireflies. Instead of building a fantasy non-existent world where a

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Cat Links Lecture 6: Housing Stories, Uncategorized

Moving House Reflection

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The film of moving house reflects the social conflict of transcending urban development, which leads to housing problems, and cultural traditions as well as the wellbeing of Singaporean citizens. The scene of the successors being silent while watching the remains of their ancestors being dug up reflects this conflict well by showcasing the dilemma that they are currently facing.

Cat Links Lecture 2: Filming the Asian City, Uncategorized

[Reading Response] NOIRS: The City, the Woman and Other Spaces

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The transition of Hong Kong from a premature metropolis to a urbanized city was definitely a gradual yet stark one. During this period the representation of women on screen is mostly shown through two genres – melodrama and thriller, embodying the modernizing city by showing the construction of Hong Kong’s culture through the daily life of the women. The female protagonists in these films are often portrayed by socialite vigilantes and working-class women typified figures of modernization. Their domestic areas and work spaces are shown on screen as they navigate through their daily lives, showcasing a wide range of fashion,

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