Category: Lecture 3: The Post-war Asian City as Set

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[Reading Response 1] Noirs – The City The Woman and Other Spaces

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I believe the noir thrillers and melodramas from the 1960s signified the departure from old representations of women. Earlier films confined women on-screen to traditional roles like obedient housewives or supernatural virtuous heroines; but from the article, 1960 films like the Black Rose introduced complex characters, oscillating between high-society women and a professional of robbery. Female roles in an urban setting becomes intertwined and relatable – even if not, in a sense that navigating between cramped domestic spaces and the outside urban aesthetics poses as an ideal to females stuck in factory routines, serves as a visual relief to those

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[Reading Response] : Urban Cinema and the Cultural Identity of Hong Kong by Leung Ping-kwan

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This article mainly talks about the relationship between Hong Kong people identity and Hong Kong movies. He mentioned that some film theorists who thought local film and cinema were all fictitious (Clarke, 1997, as cited in Leung, 2000) . He agreed that film reproduced a fake space for viewers to enjoy but he also wanted to discuss the cultural side of the films. He thought Hong Kong movies were actually representing some real and authentic local cultures, or even forming some specific culture as well. The example that I would like to take out from this article is Chungking Express.

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[Reading response]: NOIRS: The City, the Woman and Other Spaces

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During the crucial period of Hong Kong cinema in the 1960s, the cityscape shifted from being a backdrop to being a key player in the narrative, as the text of Norris: The City, the Woman, and Other Spaces reveals. This shift is visible in films such as “Temptress of a Thousand Faces,” where the character of the city is crucial to storytelling. The narrative is woven together by vivid sequences that highlight the ever-changing relationship between the protagonists and their urban surroundings, such as the skyline and neon-lit nights. In “Black Rose,” upper-class sisters lead double lives, contrasting wealth with

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Reading Response of Noirs: The City, the Woman and Other Spaces

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Reading Response 1    Seng(2020) analysed a movie called Black Rose (Hak Mui Gwai) in 1965, which is an early local noir thrilled movie. The main character was a pair of sisters called Chan, who are from high society. However, under the table, they are vigilantes who steal from wealthy and benefits the poor. By Seng(2020), the film reflected the current ideologies in Hong Kong: The film appeared because of the inspiration of James Bond series and the rising of women’s status. Apart from the noir thrilled movie which reflects the fancy life of high society, another common movie genre

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[READING RESPONSE]Noirs: The City, the Woman and Other Spaces by Seng

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The main subject of this article revolves around the exploration of two film genres, melodrama and noir thriller, within the societal context of Hong Kong’s working and upper classes. Among the various films discussed, Black Rose and Elevator Girl, both released in 1965. There are quite a number of differences we can see in both the films. Starting with the characters. The Chan girl from BLack Rose, themselves came from the upper class while Nam from Elevator Girl is from the working class. Both these movies showcase the different parties in Hong Kong. Black Rose has a mysterious feeling to

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Reading response: Noris: The City, the Woman and Other Spaces

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The mass emergence of films and cinema in Hong Kong after during the 1950s provided the identity of modern Hong Kong people. Films constructed the cultural identity for modern Hong Kong Under the background of a post war period, the urgency of employment caused by the rapid expansion of industry. Films reflected the life of workers and displayed it on the screen. Leung Ping-kwan interprets in his book “Urban Cinema and The Cultural Identity of Hong Kong”. The ideological difference between capitalist United Kingdom and communist mainland China stemmed the production for sense of belonging to either side. Meanwhile, culture

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[Reading Response] : ‘URBAN CINEMA AND THE CULTURAL IDENTITY OF HONG KONG’ by Leung Ping-kwan

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  ‘URBAN CINEMA AND THE CULTURAL IDENTITY OF HONG KONG’ written by Leung Ping-Kwan unravels a group of films and their respective interpretations of culture in Hong Kong, during which the writer raises the issue of housing prices and space. Especially rent prices. This piqued my interest as someone returning to Hong Kong after one and a half decades away. During which, the housing market saw a 160% increase. ‘Space is Gold’, filmed in the 1950s illustrates the aforementioned problems. The film details the struggles of a dockyard worker’s relationship with a greedy landlady as well as “people conversing under

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[Reading Response] : Urban Cinema and the Cultural Identity of Hong Kong by Leung Ping-kwan

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‘Urban Cinema and the Cultural Identity of Hong Kong’ explores the influences of films on the cultural identity of Hong Kong people, especially focused on the period from the 1960s to the 1970s.The difference between Hong Kong and mainland China is shown in the language of films. For instance, the film A Hymn to Mother implies that mainland China lacks the rule of law, just like the village mentioned in the film, yet Hong Kong provides a more modern and just condition for the main characters to stay in Hong Kong, helping them to avoid the hunt-down of the villain.

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[Reading Response] : NOIRS: The City, the Woman and Other Spaces

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The reading is called NOIRS: The City, the Woman and Other Spaces. In this article, it mentioned two movies from 1960-1970. One of them is called Black Rose (Hak Mui Gwai) which was produced in 1965. The story is talk about a pair of sister who name themselves as “black rose” or Hak Mui Gwai in Cantonese. Their mission is to steal some valuable stuff like jewelry or money from the rich. Also, they will use it to help the poor. This film kind of talking about the economic inequality in the 1960s in Hong Kong. It shows the difference

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[Reading Response] Noirs: The City, the Woman and Other Spaces

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The reading includes “Black Rose” and “Elevated Girl” which is released in the year of 1965. “Black Rose” describes two upper-class sisters who steal from the rich and help the poor. The film takes the audience through the different classes of people living at the time. The changing background of space and architecture in the film also reflects the inequality of Hong Kong society in the process of rapid modernization and industrialization—moreover, this inspired society’s stereotype of women as not just stopping at housework. When we talked about “Elevator Girl,” it shows the daily lives of a working-class female elevator

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