Reading Response: Katarzyna Ancuta

Scared of confronting our past and facing the future, we represent the ghosts in ghost movies. Especially living in a modernistic, glamorized city like Hong Kong where everything is happening everywhere all at once, as the city grows, so does the fear of loneliness and social isolation of those who are socially and culturally marginalized. Despite us not being physically alone in this highly-packed, densely-populated city, we feel socially alone. In many ways, that could be even scarier than being physically alone. Apt (2006) provides us with a horror perspective of social loneliness from the protagonist’s disturbing experience in her

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[READING RESPONSE] Ancuta, K. (2020)

It is inspiring to discover how ghosts are and represent in films that features Asian apartment buildings. Initially we would approach ghost films as just a medium of gaining stimulations due to hedonic revesral effect (Classen et al., 2020).  However, these films could actually be: the portrayal of contiguous community where ghost lives together in the space along side the living; the representation of the alienating character of modern urban communal lifestyles so as the fear of being isolated; and the representation of the failed dream of economic success that continues to drive Asian rural-urban migration.  Taking the Korean movie

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[Fieldwork Podcast]: Limbo (2021)

https://drive.google.com/file/d/1-LrUfW5Gt99WfyLtbY2XTT7wNAO_kjQ4/view?usp=share_link (Due to copyright limits, the video is uploaded on google drive)   Synopsis: Limbo is an action thiller film directed by Cheang Pou-soi and released in 2021. The film is based on the Chinese novelist Lei Mi’s  novel Wisdom Tooth. The play is about a serial murder case that happened among marginalized people of Hong Kong society.   Script: James: Hello everyone, my name is James. Juan: I’m Juan. James: The movie we are discussing today is Limbo. Today, we’re going to talk about the film’s unique portrayal of space and place. Juan: That’s right, James. Director Cheang Pou-soi

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Reading Response: Katarzyna Ancuta

It’s not usual to see analysis on ghost themed movies. Horror movies are relatively underestimated since people usually treat them ways to seek excitements so the plots and techniques tend to be ignored by the audience. However, this reading lists out many symbols of ghosts may represent, especially connecting to modern people’s living condition and life style. In mega cities, senses of insecure and unfamiliar create a fear that specific to city people which gradually develop into a social notion, which thus converge into the ghosts in these movies. I would like to share my idea over the horror movie

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Reading Response: Leo Ou-Fan Lee

After reading Leo’s “The Urban Milieu of Shanghai Cinema” and several reflection, I have gained few insights about Chinese film culture. Leo’s work explored different aspects about Chinese film culture including film audience, film culture and narrative conventions. Actually, the ideas in the film is really vogue and difficult to understand if we are not situating in that background. Although the reading is difficult to understand, I am thankful to the reading that it offered me a glimpse into the film culture of Shanghai in 1930s which is precious and hard to be seen in our daily life. According to

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[Reading Response: Leo Ou-Fan Lee]

The reading of “The Urban Milieu of Shanghai Cinema” detailed explain the concept of filming industry development in China (Shanghai), how Hollywood and Chinese movie affect each other, and the link between the urban environment and filming. For example, many Hollywood movies’ titles use four Chinese characters to boost traditional Chinese culture. The writer also mentioned the relationship between filming and new-style writers writing in the 1930s, such as Lu Xun and Xu Chi. The writer suggested that the inheritance of Chinese cinema is a debatable point. After reading these readings, I understand more about cinema and filming, and also

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Reading Response: Lee Ou-fan

The article starts by describing the urban milieu of Early Shanghai, where films were produced for the very purpose of leisure. The demand for entertainment was high because of the industrialization of China, that people desired better standards of living. The high demand was illustrated by the popularity of Chinese movies and film reviews in magazines. The quality of films in the 30s was not bad either, compared to Laborer’s Love. It is precisely because of the French and British concessions that influenced the film culture and qualities. Producers had an entirely new perspective to film from Hollywood and had

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[Video Essay] Crisis City

Video link: https://youtu.be/z7j91E7NEdY Description of the theme: The maximum utilization of rooftops distinguishes Hong Kong from the other metropolises. The rooftop has been functioning as an alternative living place for the less-privileged working-class people since the post-war period.[1] The traditional residential feature is continuing and intensifying with the advance of modernization and urbanization, as the additional space provided by rooftops partly negotiates the tension between the scarcity of land resources and the consistent request for more space caused by the exceeding population and economic growth. In contemporary life, the rooftop is serving more functions in addition to a living place,

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[Video Essay] Hybrid City

Link to Video: https://youtu.be/RYcMjUZFiRs   Concept Hypethral spaces like sidewalks are the circulatory system of walkable cities like Hong Kong. They provide an access point, a platform, like blank pages of a notebook, to fill in one’s experiences of the city. However, they seem to encapsulate a series of dichotomies- not hidden but not the focal object, open, unsheltered but restricting accessibility and routes, used by everyone but outside one’s ownership. They are public, but everyone narrates their private route, weaving in and out, sewing their traipsing experience into a communal urban fabric. Each narrative flows together, creating the mesh

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