Category: Lecture 4: Everyday Spaces as Narrative

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[Reading Response] De Certeau, M. (1984). Walking in the City, and Spatial Stories.

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From the perspective of De Certeau, I believe that the practice of urban space in Hong Kong, especially against a backdrop of towering buildings, is a rewriting of the city’s text by every individual’s actions and choices. The high-density residential and commercial areas compel residents to find personalized ways to utilize limited spaces, such as rooftop gardens and corner shops, which are personal statements against standardized spaces. These seemingly trivial daily practices form the unique social texture and cultural landscape of Hong Kong. Therefore, as a young person growing up in this city, I place great importance on those spatial

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Cat Links 2024 Blog, Lecture 4: Everyday Spaces as Narrative

[Reading response] Cuts Through Hong Kong by Eunice Seng (2020)

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In the paper “Cuts through Hong Kong”, the author discussed Wong Kar-Wai’s 2000 film In the Mood for Love, which masterfully captures a moment of transition in 1960s Hong Kong through its intricate spatial and temporal collage structure. What captured my attention is the film’s reflection on the inevitability of change. I think setting the background of the movie in the 1960s is very important because it showcases how much Hong Kong has changed since that time period. Landscape, economy, politics – none of these escape the fate of transformation. In my view, change in most scenarios is a good

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[Reading Response] :‘Cuts through Hong Kong’ by Eunice Seng

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Ho Tsz Hei 3036193059   The text ‘Cuts through Hong Kong’ by professor Seng, demonstrates the film ‘In the Mood for Love’ by Wong Kar Wai on how interior and exterior of spatial collage with transition spaces implies in the film, echoing the relationship between Chow and Su.   I chose a specific aspect of the concept of ‘borrowed time’ to demonstrate film. To tell the entire story, Wong creates a collage of fragmented scenes. He frequently repeated transitional spaces in scenes, such as the interior staircase and corridor inside the Tong Lau and the exterior staircases of the back

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[Reading Response] ‘Cuts through Hong Kong’ by Eunice Seng

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Seng’s ‘Cuts Through Hong Kong’ fully situates In the Mood for Love in its historical context, revealing it as an embodiment for the conflicting and transient identities of Hong Kong’s migrants in the 1960s. This is achieved through an insightful and coherent analysis of the film’s story, built environment and cinematic style. The film’s story revolves around the intimate and ambiguous relationship between two Shanghai immigrants – Chow Mo-wan and Su Li-zhen, neighbours in the same apartment complex. Though both were married, their partners never appeared in the scene. A prevailing sense of absence is felt through Chow and Su’s

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[Reading Response] : Walking in the City by Micheal de Certeau

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The street view, use of proper names, the walking pedestrians and their speech, numbers and memories makes a city a city. Films taking place in cities captures an assortment of different fragments of residents’ lives; together all of these collage into an archive that represents urban city life at the setting.   Residents are the water that brings life into a city. They move through architecture, resides in it and uses it. They infiltrate alleyways, parks and crossroads to reach destinations via routes that aren’t designed to (e.g. in Chongqing getting to places could be much faster via elevated roads

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[Reading Response] : “Cuts Through Hong Kong” Eunice Seng

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The text “Cuts through Hong Kong,”  written by Eunice Seng, explores the theme of change and the inevitability of the transient cityscape of Hong Kong in the 1960s and discusses how the ever-changing landscape can be preserved through film, using insights from Wong Kar-Wai’s film “In the Mood for Love.” The setting of the film was shot at a time when Hong Kong was undergoing major redevelopment, which would entail the removal and disappearance of what makes a space a place. Seng takes the example from the movie “In the Mood of Love” by Wong Kar-Wai, where movie scenes were

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[READING RESPONSE] Spatial Stories by Michael De Certeau

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Kan Nok Ming Valerie (3036233483) The author has addressed concepts like ‘everyday tactics’, ‘place and space’, ‘boundaries and frontier’ through explaining their meaning and making differentiation between elements being superficially similar. The fact that “space is a practiced place” as stated in page 117 extends to the meanings that a place becomes a space when there is operations and mobility. This provokes my thoughts that it also applies to one’s memory. While the territory with memories is bounded with barriers and frontiers, the memory tied in the place functions as a catalyst rather than solely a backdrop to transform itself

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[READING RESPONSE] Cuts through Hong Kong by Eunice Seng

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Cheung Wan Suet, UID 3036234401 The reading discussed In The Mood Of Love and the 1960s Hong Kong characterised by its state of temporality and conflicting existence. The impermanency awkwardly puts everything into ambiguity — the ambiguity of love and the ambiguity of this city. Even in a more modern context, I still wonder what defines as characteristically Hong Kong. Is it the Chinese culture, the coloniality, or is it a subtle blending of both? There are no definite answers, as Hong Kong still struggles with the constant phenomena of appearing and disappearing: the Kowloon Walled City, Kai Tak Airport, Edinburgh

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[Reading Response] Eunice Seng: “Cuts through Hong Kong”

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This article is a thoughtful and profound analysis of the movie “In the Mood for Love” by Director Wong Kar-Wai. The author, Eunice Seng, explores the inevitable and irreversible concepts that the movie portrays, such as love, migration, and temporary identity, from both a micro and macro perspective. The article argues that changes are inevitable, whether it is the 1960s when the plot is set, the filming time in 2000, or even our current time of 2024. Seng also highlights the movie’s use of “spatial and temporal collage” to capture and convey the old and new cultural ideas that were

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[READING RESPONSE] C. Seng, E. (2021). Cuts through Hong Kong.

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The film “In the Mood of Love” captures the cityscapes of Hong Kong in the 2000s. The film features different shots of bedrooms, hallways, corridors and streets. During the production of the film, quite a few of the establishments that are originally planned for use for sets are no longer there so the team searched for alternatives, one being a hotel in Bangkok. It is interesting to note that even if they’re two different places (Hong Kong and Bangkok), the architecture is similar to the point that the sets in Bangkok can be substituted for that in Hong Kong. The

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