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When the family goes to the cemetery at the beginning of the video, the whole picture of the video is dim, only a circle of candles swinging a weak warm light, people holding flashlights in their hands, the light reflects on their faces to symbolize that something unusual is going to happen because of their behavior breaks the original silence and darkness of the environment. SONG YIQUN 3036097293
After watching the moving,I have deeply more understood the culture on the ancestrial worship of Singapore.The housing problem of Singapore is severe and the land of cemetery of rural area has to be removed under government.I deeply understand the contradiction of the rural resident on preserving the cemetery or moving out in order to respect their ancestor.
“After development comes redevelopment” as a way of life where the dead people are also affected to be moved is sad. Tradition cannot be maintained because of the government planning of lands; the dead parents “moving” from a larger “house” to a smaller “house” which is the columbarium. The exhumation exercises that are shown in the video is is uncanny and creepy, and let us know how a dense city means the cityscape and way of living is ever changing and full of uncertainty. -3036237831
Tianzhuoyue LIU 3036268256
After reading the “NOIRS: The City, the Woman and Other Spaces”, I was amazed on how “Black Rose” uses various film technique to show female gaze especially on the frozen shots and multi view point. Also, the elevator girl uses jump cuts, which shows the rapid movement of a strong female protagonist actions. It was also quite intriguing that spy thriller genre in HK was heavily influenced by the James Bond series, and how that influenced the characteristics of female spies in HK films. It was also quite interesting to see how social discontent with the ruling class is
Continue reading[Reading Response] Noirs – The City The Woman and Other Spaces by Ez Kim
‘Cuts through Hong Kong’ by Eunice Seng is an article on the Hong Kong romance ‘In the Mood for Love’ directed by Wong Kar-Wai. The article focuses on the film’s use of architecture and domestic spaces as a set, as well as how Wong Kar-Wai utilises the city of Hong Kong as a storytelling device. I was most interested in how the reading discussed the use of repetition and mirroring in the film. The protagonists were often shot in identical spaces, such as seemingly exiting the same doors or looking over the same balcony. The repetition of space was used
Continue reading[READING RESPONSE] Cuts through Hong Kong by Eunice Seng
The article, “Walking in the City, and the Spatial Stories,” explores how people navigate urban environments in two modes of spatial practices: strategies, and tactics. Strategies are top-down, institutionalized plans to shape the urban space, however, NYC walkways represent a deviation from strategies. Rather, New Yorkers insist on tactics, where diverse groups crave out their paths, pushing back against planned paths, using shortcuts, and repurposing such spaces to suit the inhabitants. This form of unintentional urban landscaping work enables shorter modes to exchange goods and ideas between different cultures from the millions who walk the path leading to growth, opportunities,
Continue reading[Reading Response]: “Cuts Through Hong Kong” by Eunice Seng
The passage shows a particular aspect of the proceed of modernization. Instead of focusing on skyscrapers and modern vehicles, some films spotlight female figures. What differs from the previous movies is that women are given more roles than housewives and mothers. For example, in the film black rose, women are seen as thieves who steal for the rich to help the deprived. Through the silhouette of a woman, the film shows the rise of the middle class in the city. Another example is the increasing entertainment activities women have. The typical figure is the factory woman workers. They are independent
Continue readingReading response:NOIRS: The City, the Woman and Other Spaces
“Urban Cinema and the Cutural identity of Hong Kong” written by Leung Ping-kwan, which related to movies and the city of Hong Kong, is talking about the changes inside the city from the 1950s to the 1990s. Among these changes, some of them are concrete in terms of the city’s architectural and physical form represented in spatial form, others are abstract and intangible in terms of the complexity of culture, citizens’ ideologies, and the status of women. Therefore, we can obviously tell their mutual intention, which is to discuss the history, or we say, the process of the transformation inside
Transcript: What’s the first word that comes to your mind when talking about the streets of Hong Kong? Narrow? Steep Slope? Hustle and Bustle? Prosperous? Artistic? Hong Kong, is a multicultural metropolis, a traditional Chinese treasure chest full of Western elements. In the rain, On the sidewalk that is even not wide as my umbrella, Pedestrians are always polite and modest, they queue for the bus, they silently obey the unwritten rules. Everything is inclusive here. Although Underneath the skyscrapers are shabby stalls, although unfamiliar décor and languages appear frequently, although there are still steps to the destination. If
Continue reading[Video essay]Hybrid city: Diversity of Streets in Hong Kong