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[Field-Homework 3] Public City: HKU Pier

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  Video Essay: Theme: The theme and subject matter of the described scenario revolve around the transformation of the harbor near HKU and its impact on the surrounding environment and community. The setting is the Western Harbourfront, stretching from Sai Ying Pun to Kennedy Town in Hong Kong. The components of the story include the initial state of the harbor, its renovation, and the subsequent changes observed by the narrator. History:  The waterfront near HKU is first seen as an interesting location with abandoned cargo docks and strewn-about containers. Unobstructed views of Victoria Harbour and the city skyline are made

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reading response2

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Reading Response 2 In response to the reading The Multilayered Metropolis, I began to reflect on how multilayered pedestrian systems are represented in Hong Kong, where I live, and how they resonate with cinematic depictions of the city. Hong Kong’s architecture, with its dense urban sprawl, is a maze of elevated walkways, overpasses and a complex underground network, reflecting the multi-layered concepts discussed in the document. These infrastructures not only contribute to the bustling rhythm of the city, but also have a significant impact on Hong Kong’s social interactions and cultural dynamics. From a cinematic perspective, these multi-layered spaces in

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[Reading Response 2] – The Imaginary Real World of Cyber-Cities

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“Lag-Time Places” capture the fundamental nature of urban environments that are frequently disregarded in accounts of urban progress. These entities symbolize not only spatial voids, but also temporal disruptions, in which the progression of time appears to halt. These neglected regions are akin to misplaced puzzle pieces, estranged from the overarching blueprint of the urban environment, and abandoned to rot in the dark.It brings to mind a specific alleyway in my birthplace when I consider this notion. Nestled amidst edificing structures, this area appears to be eerily isolated from the swift urbanization that encircles it. Idnocuous to developers and pedestrians

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[Reading response 2] – Oh No, There Goes Tokyo

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The article mainly illustrated the aftereffects of the World War II on Japanese media. It mentioned that the Japanese cities were often depicted as doomed and apocalyptic due to some monster or tangible enemy, such that citizens could seek relief by watching this symbolic villain being beaten under the unity and harmony of the Japanese. Growth and change were highly valued in these films, even though the idea of utopia was out of focus. This types of disaster movies reminded me of a Japanese war anime the Grave of the Fireflies. Instead of building a fantasy non-existent world where a

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[Reading Response 2] In Search of the Ghostly Context

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The author opens up the ghostly city of Chan’s films, shedding light on low-cost public housing estate issues and marginalized society living there. In Chan’s movies, lower-class housing is depicted as haunted and desolate, “evoking ghostliness, melancholy, loss, and nostalgia” in contrast to the promoted positive depiction. These hyper-dense estates with poverty, dysfunctional families, and crimes, remained home to many people, usually powerless with a strong feeling of homelessness. Chan uses the uncanny to convey this feeling in his films. Ghosts serve as reminders of past history that haunts places and people. Not all of his films directly address characters

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[Reading Response2]- Building on Disappearance: Hong Kong Architecture and Colonial Space

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Chu Kai Ying Yannis uid: 3036239774 This article mainly discusses the disappearance of Hong Kong architecture and history. Architecture not only can showcase the aesthetic of one place, but also represent people’s identity in an intangible way. The demolition of Hong Kong unique buildings will fade out people’s memories towards a city or even a nation, nevertheless, the preservation may not represent the truth or memory of a city. As preservation is selective and tends to exclude the dirt and pain, the fantasy may be just an illusion, some of the real history may also be cancelled by the preservation.

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[Reading Response] Hong Kong: Culture and the politics of disappearance

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 Ackbar Abbas’s article, “Building on Disappearance,” delves deep into the ramifications of Hong Kong’s rapid urbanization, examining the *vanishing* effects it has had on the built environment, urban fabric, and cultural heritage. Abbas explores the relationship between architectural entities and collective memory; it highlights the heightened significance of the theme of disappearance in Hong Kong cinema, particularly in the aftermath of the pivotal 1997 handover to China. His analysis underscores the profound impact of vanishing edifices, the loss of architectural continuity, and the erasure of cultural landmarks on the city’s sociocultural tapestry. And he touches on the anxiety people in

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[Reading Response 2] Oh No, There Goes Tokyo – Anvesha Bajpai

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I was interested in exploring the deep psychological trauma ingrained in post-war Japan, particularly stemming from the experience of nuclear warfare which has a profound influence on Japanese popular culture, leading to doomsday cities such as Tokyo as recurring themes in films and media. Critics like Susan Sontag suggest these narratives serve as a means to address and cope with the collective trauma experienced by the population. Susan Sontag’s perspective on the appeal of postwar science fiction cinema, exemplified through films like “Gojira” (1954), illustrates the connection between trauma and storytelling. “Gojira” visually captures the destruction of Tokyo. Sontag argues

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[Reading Response2] In Search of the Ghostly in Context : Esther M. K. Cheung

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The reading mentions the blend of reality and surrealism in Fruit Chan’s film Made In Hong Kong, which alters the audience’s sense of reality. In the movie, he defamiliarises Hong Kong and creates a “spectral city” instead. This style differs from Fruit Chan’s other films, which usually have more elements of realism. Moreover, the reading mentions Fruit Chan’s another ghostly city film “Finale in Blood”. In that film, “ghostly” is not all about including real spectres and ghosts. Instead, he uses “ghostly” as a transformative tool to defamiliarise the city, to give the film an uncanniness and uneasiness. The analysis

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Reading response essay – L4 AR_Collage_Cuts through Hong Kong_Seng

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Everyday space as narrative   Wang Ching Jason 3036271459 Directed by Wong Kar Wei, “In the Mood for Love” portrayed the image of Hong Kong in the 1960s through looking into the protagonist’s entrapments in their own lives, seeking solace in each other’s companionship after discovering their spouses’ infidelity. The movie captures a handful of locations, each filmed in the same angle, giving the audience a circular effect experience of returning again and again to the same things. This technique isolates against fixed backgrounds, the things that are changing in the film, that is the private lives of the two

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