[Reading Response: Seng, E.]

I found that it is quite funny that the movie “The Elevator Girl” is full of composite buildings. In the past of Hong Kong, different composite buildings with various functions are not really common. In a certain extent, the movie does impact the architecture in Hong Kong. Talking about the movie “Black Rose”, this movie is such a groundbreaking movie that it revealed the problem of the aggravation of the social inequality while Hong Kong was experiencing a modernisation process. In the movie, the director utilised the camera very well. Different perspectives and viewpoints towards the people showed the contrasting

Continue reading[Reading Response: Seng, E.]

[Reading Response]: Seng, E.

The article discussed the urban space and Hong Kong identity represented in melodrama and noir thriller films in 1960s Hong Kong. One thing that fascinates me is the relationship between the two female protagonists, the working-class woman, and the female vigilante. The female vigilante character is chosen to be the main character of Hong Kong movies in the 1960s because this period of rapid industrialization and modernization requires the women workforce to join in the construction of the society. Women, who originally belonged to the interior, domestic space, are now beginning to appear on the streets, in factories alongside men.

Continue reading[Reading Response]: Seng, E.

Reading Response: Leung P.-K.

In the reading, Leung discussed how people’s views of the city are expressed in the films, along with how films played a role in building and transforming the local culture and its interaction with political situations. Among the films which criticize the inferior living condition of the poor in contrast to the luxurious place of the rich, there were also films showing other aspects. Some films also show the city as an acceptable rational place, while other shows how people adapt to and find a way to survive in the city. In the chapter, the author observed that, at the

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[Reading Response]: Seng, E.

It is interesting how The Elevator Girl resulted in the spread of composite buildings. Coming from a Canadian background, buildings with multiple functions are definitely not widespread there like it is here. The film’s direct influence on Hong Kong architecture is fascinating to see.  The use of female vigilantes in Black Rose embodies the dual worlds present in the city. The movie addresses the increasing social inequality between the rich and poor in modernizing Hong Kong and the camera shows a privileged viewpoint by going between these contrasting worlds. The female vigilantes also present a duality because of how the

Continue reading[Reading Response]: Seng, E.

Reading Response: Seng, E.

In Noirs: The City the Woman and Other Spaces, it is suggested that women served as a tool to narrate the city and its social conditions at the time, in a way representing the transition from a traditional to a modern, more industrialized society. Hong Kong noir thrillers preferred female vigilantes as protagonist because the female body and gaze served as a counterpart to male narratives, and this happened in tandem with the wave of feminism occurring in the 20th century. Also, at that time, Hong Kong was starting to recruit more and more women factory workers, so that heightened

Continue readingReading Response: Seng, E.

Reading Response: Seng, E. 

From the second reading (“Noirs”), we can tell that film brings a contrast to architectural creations by giving a storytelling aspect to buildings, which can induce new feelings and perceptions of them. As we can see in the film “Elevator Girl,” where the protagonist takes people to different levels in a private building, it introduces the building typology and proves that film has a significant impact on the world of architecture. Additionally, in the same reading, it is mentioned how female figures started to be commonly used in films, such as female vigilantes as protagonists. The reason behind this is

Continue readingReading Response: Seng, E. 

Reading Response: Seng, E.

The author generally discusses about the role of architecture and gender in representing cities in two film genres that is prominent in the 1960s, which are melodrama and noir thriller. She emphasizes those films because it is perceived through the female lens, and how it depicts a historical shift from patriarchy to women’s emancipation and freedom. What I find most resonating is the impact of architectural design on the representation of the city in the films: Black Rose and Elevator Girl. Black Rose shows the differences in the ways people from different social classes live in the city. I believe

Continue readingReading Response: Seng, E.

Reading Response: Seng, E.

In Noirs: The City, the Woman, and other Spaces, the author describes how the architectural design affects movies in the 1960s. The author analyzes two movies, “Black Rose” and “Elevator Girl” as case studies. The movie “Black Rose” was able to show the difference of how people in different social classes live. For instance, in a scene where Black Rose stole from a fancy houses and gives the money to people sleeping in poor houses illustrates a contrast of Hong Kong people from two different social classes. On the other hand, the movie “Elevator girl” promotes a revolutionary new type

Continue readingReading Response: Seng, E.

Reading response: Seng, E

In the 1960s, urban interior spaces are beginning to be demonstrated through the “female gaze” in the two prominent genres at the time: melodrama and noir thriller. Instead of positioning women on the periphery of the narrative or filtering their urban experiences through a male protagonist —which was often the case in the predominantly Chinese patriarchal society — these emerging films emphasize on female perspectives in the context of the city, Hong Kong, in the processes of industrialization and modernization. Screen portrayals of urban experience display city as a space of female social and spatial emancipation as it liberates women from their

Continue readingReading response: Seng, E

Reading Response: Leung P.K.

The chapter in Urban Cinema and the Cultural Identity of Hong Kong depicts how Hong Kong has been in a certain sense of ambivalence, including the inequalities between rich and poor and the opposition between city and country. The formation of Hong Kong culture has also been complicated, both foreign and traditional Chinese cultures were presented. Films act as a medium to present this characteristic of Hong Kong where the colony identity indicates Hong Kong as an “urban city” and the mother country China is defined as a “rural country”, at the same time, some movies imply a denial of

Continue readingReading Response: Leung P.K.