[Reading Response 2]-In search of the Ghostly in context

The representational space of In Search of Ghostly Contexts is an important platform for marginalized individuals to fight for their rights and solve social inequalities. Made in Hong Kong, a film by Fruit Chan, addresses this inequity by integrating its critique into the larger socio-political framework of Hong Kong’s upcoming political transfer. In Made in Hong Kong, Susan’s suicide highlights the inequitable living conditions generated by government neglect and represents the decay and ghostliness of Hong Kong’s urban landscape.   Prior to the handover in 1997, Hong Kong saw a significant political upheaval uncertainty. Such worries are reflected in films

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In-class exercise—Moving housen reflection

Because Singapore is one of the densest cities in the world, its land resources are very scarce, so in order to make greater use of the land, the family in the documentary has no choice but to relocate his ancestral graves because the land would be used by the government to build houses. This is actually very helpless for chinese people because it is tantamount to disturbing their ancestors and leaving them in peace even after their death.

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

During the crucial period of Hong Kong cinema in the 1960s, the cityscape shifted from being a backdrop to being a key player in the narrative, as the text of Norris: The City, the Woman, and Other Spaces reveals. This shift is visible in films such as “Temptress of a Thousand Faces,” where the character of the city is crucial to storytelling. The narrative is woven together by vivid sequences that highlight the ever-changing relationship between the protagonists and their urban surroundings, such as the skyline and neon-lit nights. In “Black Rose,” upper-class sisters lead double lives, contrasting wealth with

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