Author: Liu Yuhan

Cat Links 2024 Blog, Final Video Essay

[Field-Homework 3] Hybrid City – Tong Lau, Mong Kok & Wan Chai

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Hybrid City 3036126654 Liu Yuhan Hong Kong is a hybrid city, and Tong Lau can best interpret its hybridity. The definition of Tong Lau is a specific type of building that is commonly seen in Southeast Asia (Chu, 2012), and it has been used as tenement houses in Hong Kong (Yin, 2010). Tong Lau can represent a hybrid city in many aspects. I chose the 4 major aspects, and The general narration logic of my film is from the exterior to the interior. 1. Colors Tong Lau has diverse and saturated colors. The hybrid of colors can be a distinct

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Cat Links 2024 Blog, Lecture 6: Housing Stories

[READING RESPONSE] Katarzyna Ancuta-Communal After-Living: Asian Ghosts and the City

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This reading chooses the difference between Eastern and Western ghosts as an entry point. Western ghosts focus more on horror itself. In contrast, in Asian films, ghosts are often used to mirror the socio-cultural background, and this reading specifically focuses on ghosts in Asian cities. What impressed me was that the reading illustrated the slight difference in ghosts in the different regions of Asia. Chinese ghost stories depict the cohabitation of humans and ghosts, and the haunted scenes in these movies often appear in apartments, which are an inevitable compromise to rapid urbanization. Though the Confucian Value System highlights the

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Cat Links 2024 Blog, Lecture 6: Housing Stories

[Class exercise] “Moving House” Reflections by Liu Yuhan

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After watching the film, I felt very sad and touched. The protagonist mentioned that people want to be buried in a place with good “feng shui” to absorb it after death, but the expansion of the city forced them to move the remains of their loved ones, cutting off their relation with land and tradition. It is a very heavy feeling that urbanization should be accompanied by loss and regret. Liu Yuhan 3036126654

Cat Links 2024 Blog, Workshop 1: Building Sets, Spaces & the City + Costumes, Characters & Urban Situations

[Workshop 2 exercise] Liu Yuhan

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I chose these two pictures for my illustration, and both were shot by myself. The first photo was taken in Nepal, at the lakeside of Phewa Lake. On that day I had a similar experience—-wandering excitedly around the lake for hours, and this picture showcases the distance between me and the outside world since I felt quite excited but lonely at that moment. I think this scene can take place near Phewa Lake because there are many bars and restaurants nearby the lake that open at midnight and are crowded with people. However, when your feet step on its shore,

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Cat Links 2024 Blog, Workshop 2: Dreamland Film Screening + Director's Chat

Question for Director Chen

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This movie has brought me a great visual experience, and I have some questions. I found the film’s overall tone to be light and unsaturated, with low contrast. Is there any meaning to this? I found that there is always some foreground occlusion in front of the camera, such as glass reflection, etc.. Is this to show the depth of the architecture? Many thanks! Liu Yuhan 3036126654

Cat Links 2024 Blog, Fieldwork

[Fieldwork Report] Tong Lau- Liu Yuhan & Zhao Yuxuan

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Liu Yuhan 3036126654 Zhao Yuxuan 3036127050 [All] Hello, everyone. Welcome to our channel! I am Zhao Yuxuan and I am Liu Yuhan. Today our topic is Tong Lau, which is currently vanishing in Hong Kong. [Yuhan] Part 1 What is the space/place/artefact/building that is vanishing? First, we will focus on what is Tong Lau. According to Wikipedia, Tong lau are tenement buildings built from the late 19th century to the 1960s in Hong Kong and Southern China. Tong Lau has several characteristics. The most distinct spatial feature is that their height is relatively low, usually no more than six stories,

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Cat Links 2024 Blog, Lecture 1: Architecture, Film & The Modern City

[READING RESPONSE] Roland Barthes-Leaving the Movie Theater

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This article describes the “hypnotic” feeling when watching the film inside the theater and the lost emotion when leaving the theater. In the cinema, the darkness envelops us like a cocoon, and with the relaxation of postures, the freedom of our bodies is awakened, which illustrates modern “eroticism”. Meanwhile, the only light in the cinema is the film on the screen. Inside the darkness, we are “glued” to the images and let our emotions and attention be drawn to the plots, making us feel dazed when leaving them. The author also introduces the “two bodies” theorem to explain why we

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