Category: Lecture 4: Everyday Spaces as Narrative

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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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[Reading Response] – Spatial Stories

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De Certeau defined place and space by “Space is a practiced place” as space is what ones take more consideration into place. According to this definition, the “difference of tour and map “ and “boundaries” walked by De Certeau following can be easily understand.   In an one-sided angle, those ideas can be understanded by “things are different according to their observer”. Place is neutral. Space is different to place since it has an “observer”. Streets become different space to walkers in city as they link to walkers’ life and memory. And since those walkers’ life and memory are different.

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

[READING RESPONSE] EUNICE SENG: “Cuts through Hong Kong”

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Like a classical poem, “In the Mood for Love” conveys rich information through its minimalist camera work and precise editing, creating ample space for viewers’ imagination and contemplation. The film serves as a visual collage of various spaces, including bedrooms, mahjong rooms, hotel rooms, hallways, and corridors, as well as scenes depicting still life. Moreover, the movie ingeniously combines the characters’ movements and costume changes, particularly the cheongsam, to accentuate shifts in time and place, capturing the essence of a transitioning Hong Kong. From 1962 onwards, Hong Kong experienced a profound transformation, with Tsim Sha Tsui evolving from an urban

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Cat Links Lecture 4: Everyday Spaces as Narrative

[Reading Response] Spatial Stories, by Michel de Certeau

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This article talks about the difference between place and space, moving from structure to action, the bipolar distinction of maps and itineraries, the procedures of delimitation or “marking boundaries” and “enunciative focalization”. Space itself exists objectively, but people give it meaning and value through their subjective perceptions, experiences and cultural backgrounds, which leads to as many different spaces as there are people. Tour descriptions are more focused on operational and experiential awareness; they show the listener the location by describing specific actions and perceptual details, and are dynamic. In contrast, the map description is more objective and static as it

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[Reading Response] Cuts through Hong Kong

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In the article, the author Eunice Seng analyses the film In the Mood for Love by pointing out its usage of both “spatial and temporal collage” to capture Hong Kong’s transitory feature. “Spatial” is represented by different places shot in the film such as stairs and corridors, while “temporal” can be seen from the changing cheongsams of Su Li-zhen, one of the protagonists, to show changes from 1962 to 1966 in Hong Kong. Besides the opinions in the article that focus on the frames, I also want to emphasize how the film shows transitory feature with the title of the

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[Reading Response] Cuts through Hong Kong: the spatial collage of In the Mood for Love

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Said Professor Seng, the film In The Mood For Love is a spatial collage of many different places and environments, especially domestic and public ones. The interconnected spaces created and shot in the film not only present a typical Hong Kong urban landscape in the 1960s but, most importantly, they visualize the character’s complex emotions and reflect the context of migration and diaspora of Hong Kong in the 1960s. Regarding depicting characters’ emotions, the film utilizes some private and intimate spaces like bedrooms to amplify the emotional vulnerability and isolation of the characters, for instance, the compact quarters of the

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Cat Links Lecture 4: Everyday Spaces as Narrative

[Reading Response] Walking in the City

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Certeau’s The Practice of Everyday Life offers a philosophical and social scientific perspective on urban living, particularly in “Walking in the City“, which explores the relationship between pedestrians and urban spaces. This work prompts a reflection on the identity of a “walker” and their role in the urban landscape, which further suggests that urban navigation is shaped by social norms, cultural practices, and collective behaviors. However, questions involves as I trying to find who are the walkers. My tutor said that anyone living within the city can be considered a “walker” through their engagement with and interpretation of the city’s

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[Reading Response] Michel de Certeau: Spatial Stories

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This chapter shows how people use space to construct narrative structures and shape their experiences. He also argues that ‘every story is a travel story—-a spatial practice’, and spatial stories are crucial for people to navigate and understand the world. The author wrote about differences in space and place, map and tour, and boundaries and frontiers. The writer first mentioned that spatial practices concern everyday tactics, and the writer emphasizes the importance of mobility. Movement constructs spatial stories, in particular, walking. Through these movements, people can organize their paths to make journeys and thus create new narratives, which are more

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

[READING RESPONSE] EUNICE SENG: “Cuts through Hong Kong”

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Seng, Eunice (2021) The article discussed a movie filmed in 2000, In the Mood of Love, from a unique perspective of the time and space that brought up the story. Hong Kong’s appearance in the last century was pivotal to the development of the plot, while the movie also becomes an album of the places that only exist in memory.   Just as Director Wong mentioned, he wanted to document Hong Kong from the past, although some shots were done in time, more are already demolished in Hong Kong. For this reason, some scenes are shot in Bangkok, which was a

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[Reading Response] Eunice Seng

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The paper discusses the film ‘In the Mood for Love’. I believe that this film is able to show us the multifaceted roles backgrounds and settings play where in it, sets are utilised to emphasise the moods and to inform of this idea of temporality. Characters often interact with the same places and sets. This sort of continuous one-after-another play between them and the surroundings creates a perpetual movement within those places. Without its inhabitants, these places seem like photographs, stills almost. The stillness is elevated by the choice of camera techniques. Slow motion and long continuous shots create a

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