Reading response: Abbas

The writer claims that Hong Kong’s colonial space is particularly a space of disappearance. However, what he means is disappearance does not imply going entirely unnoticed. It can work really well with projects of preservation and a concern for the present. The writer brings out three examples to support his argument. They are Hong Kong Cultural Center, Flagstaff House, and Repulse Bay Hotel. He against the use of preservation as history to bring about the disappearance of history. Preservation of these architecture intentionally add Chinese elements into colonial architecture or integrate the “old” and the “new”. It leads to the

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[Reading Response: Hong Kong: Culture and the Politics of disappearance]

The reading talks about how the buildings in Hong Kong show how the city has changed over time. The writer provides a valuable perspective on the complex interplay between architecture, colonialism, and identity in Hong Kong. It also mentions the constructed environment of the city reflects a process of “disappearance,” and draws attention to how colonial influences are gradually being replaced by a more Chinese identity. The reading also offers a helpful analysis of the role of architecture in shaping cultural individuality, based on the reading, the term “disappearance” involves a shift from the colonial history of Hong Kong, which

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Reading Response: Abbas, M. A.

Just from the article’s title “Oh No, There Goes Tokyo” we can understand Tsutsui’s view on the destruction of Tokyo in science-fiction movies. Tsutsui agrees with the many Japanese filmmakers who take on the genre in a playful and humorous way. Japan’s traumatic history: atomic bombings and natural disasters prompted the creation of many fantastical creatures in the science fiction genre. Such creatures have a dual function: it serves as a therapeutic way for filmmakers to understand and confront their own fears, whilst also being a source of comfort for filmgoers who relate to such anxieties. Tsutsui mentions the concept

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[Reading response: Abbas, M.A.]

In the article, the writer mentioned that Hong Kong is an open city that is exposed to all architectural styles and influences, however, architecture has frequently been built and rebuilt due to the rapid economic development. I would like to express the feeling of regret on this point that Hong Kong will eventually lose its cultural memories, for example, Central mentioned in the text, remains only a little vestige of this History. We cannot change the fact that Hong Kong’s architecture is inscribed in building space as capitalism, owing to the hyperdensity and the economic status. Hong Kong is a unique

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[READING RESPONSE] WILLIAM M. TSUTSUI

  In my opinion, the reason why Japan’s disaster film industry is very popular is closely related to the country’s own experience and attributes. As an island country, Japan, located on the Pacific Rim seismic belt, has to experience large and small earthquakes. In the 1950s-1960s, Japanese people were recovering from the trauma of World War II. The monster films during this period well reflected the domestic situation and gave the Japanese people a way to sympathize and find ways to vent. When people watch these films, they can easily bring their tragic experience into the world, and then they

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Reading Response: Darrell William Davis

This article has discussed a lot about the relationship between technology and ethnicity in films. The writer has used the film Blade Runner to discuss the relationship between humans and replicants. If replicants have self-consciousness and faith, can we regard them as humans? I think cyberpunk stories always attract me because they are inspiring. They show conflicts that might happen when there is high technology but a low quality of life. Also, the architectures in this kind of film are very amusing because they are usually high-tech such as a smart home.   The writer also describes Hong Kong as

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[Reading Response: William M. Tsutsui]

Since the Cold War and World  War II, more monster films started to appear and all of them focus on the destruction of the city. The vulnerability and terror to disasters and atomic bomb are fully reflected in these films. Similarly, the Godzilla is also a metaphor of disaster and destruction. Japanese people may be anxious about the war and disasters that may happen in the future. However, there is also optimism hidden in this film. The Godzilla is finally defeated because of the unification of the society. It also demonstrates that their strength and power can overcome everything with

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[Reading Response: Darrell William Davis AND William M. Tsutsui]

In Tsutsui’s article, the author sorts out the source of the monster story genre. After reading it, from a personal point of view, the appearance of Godzilla does not point to the United States but to the old Japanese Empire. Why does Japan always show a “two-beat jazz” between destruction and reconstruction in movies? Why are the Japanese people so obsessed with this? The reason for this is not just the fear of Japan, but also the desire for liberation and closure (Freud), the fear of the old Japanese Empire, and the joy of rebuilding that ended the war with

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Reading response: Tsutsui W.M.

The famous movie Gojira 1954 is considered as an expression of the public impression of nuclear explosion and natural disasters. The brooding and dark film during that time expresses the phobia towards the nuclear science which more Japanese people not familiar with. Since the period that Tokyo is still well-known as Edo castle, earthquakes and fire disasters never ended. The city is like being cursed that at least 31 fire disasters happened in the 5 centuries which is the whole history of this city. Gorija is not just a character, a monster that plays negative role in the film, but

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Reading Response: Darrell William Davis

In his article, Tsutsui makes a connection between the popularity of disaster films in Japan and social problems in Japan. It is well known that disaster films illustrate the devastating impact that disasters have on society and the built environment. It is popular for a reason: Japan is known as a nation with a high density of citizens, and indeed a big income gap between the rich and poor. Films about disasters often depict such a world after a huge disaster; the world is rebuilt to eliminate the gap. In such a world, everyone gets to begin on equal footing.

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