[Field-Homework 3] Disappearing City

Eileen Chang once wrote after seeing neon signs in Hong Kong that,’’ It was a hot afternoon, and the most striking thing to look at was the giant billboards lined up on the pier, red, orange, pink, reflecting in the green water, a line, a dash of irritating offending pigment, scurrying up and down, fighting under the water in an exceptionally lively manner’’ (Zhang, 1943). For a century, Hong Kong has been using the night scene as its signature, while neon lights, which are the finishing touch, are gradually disappearing. This short film therefore aims to investigate this disappearing artifact,

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[Reading Response] Communal After-Living: Asian Ghosts and the City – Hou Jia Ning 3036268139

Unlike the gory violence of Western horror movies, Asian ghosts are characterized more by religion, loneliness, and the cycle of cause and effect, and ghosts are used as a reflection of human nature and social issues. The Hong Kong horror films mentioned in this article resonate very much with me. The core of Hong Kong horror films is the folkloric horror that strikes at the heart of the soul – the dark side of a bustling city, with many scenes set in dilapidated residential buildings, giving the viewer a strong sense of familiarity and yet unknown fear. The house I’m

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[Fieldwork]LITTLE CHEUNG, Hou Jia Ning & Wang Qing Hui

Little Cheung Hou Jianing(3036268139)&Wang Qinghui(3036265242)       The film Little Cheung is directed by Fruit Chan in 1999 as the threequel of the Hong Kong Trilogy. The story talked about a 9-year-old boy called Little Cheung and happened in 1997, the occasion of Hong Kong’s return to China. The director uses the innocent perspective of a child to relay the thoughts of adults, the connection between people, and the process of the handover between the old and new eras in Hong Kong. Through the changing times, more and more buildings have been demolished and rebuilt due to the ravages of

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[Reading Response] Leaving the Movie Theater by Roland Barthes

In Leaving the Movie Theater, Roland Barthes describes his healing of the movie theater brought about by a certain kind of hypnosis. He introduces it with the effect that musical hypnosis has had on him, and our entry process into the theater serves as a prerequisite for hypnosis. The author graphically describes everything from the entrance before the movie starts, the immersion of the audience during the movie screening, to how the movie theater is set up so that the audience is only intoxicated by the movie.   The attraction of the cinema lies mainly in its “darkness”, which naturally focuses the

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