Director: Chiu Yin Ching

Immovable City: Yau Ma Tei Fruit Market

The Yau Ma Tei Fruit Market is an iconic landmark in Hong Kong, established in 1913. It is widely known for its wide assortment of fresh fruits, making it a primary source for fruits in the city. Over time, the fruit market has evolved into a vital component of Hong Kong’s cultural landscape. However, as Hong Kong’s political and economic landscape continues to develop, many discussions regarding the relocation of the fruit market were raised to accommodate the progressing needs of the city. Many subsequent locations around the fruit market, such as the poultry and vegetable markets were moved to other parts of Hong Kong. Yet, the Yau Ma Tei fruit market remains in its exact location to this day. Hence, my film aims to explore how the perseverance of the fruit market, despite plans of relocation, reflects the unwavering spirit and resilience of Hong Kong citizens in the face of economic and political challenges that were posed against the city. 

My film aims to emphasise the long-standing nature of the fruit market by highlighting the dynamics and relationships between the store vendors and customers, demonstrating how these connections are vital to the essence of the fruit market. Furthermore, the fruit market is interesting because of the absence of the architectural boundaries that make up typical markets. Rather, it is the people and their relationships with one another that form this space. By highlighting these connections, my film aims to reinforce the idea that the market is an immovable cultural artefact created by the people, symbolising Hong Kong’s strength and perseverance in the face of challenging times. 

Through the use of various film techniques, my film effectively reflects the timeless nature of the fruit market.  For example, the low frame rate shots of the fruit market at 00:13-00:23 reflects the old Hong Kong films who have used the Yau Ma Tei Fruit Market and its surroundings as a backdrop, such as ‘As Tears Go By’ directed by Wong Kar Wai, and ‘Little Cheung’ directed by Fruit Chan. The referencing of old local films paired with my clips bridges the past to the present, reflecting the longevity of the fruit market. To further reinforce this concept, shots of vendors calling out the iconic phrase ‘埋嚟埋嚟’ were used to capture and recall familiar sounds that are synonymous with local markets within Hong Kong. Such methods of marketing are traditional and commonly observed in Hong Kong, further aligning the fruit market’s practices to the identity and culture of local markets. Additionally, montages of store name plates act as a cultural artefact that further exemplifies the history of the market. Here, many of the name plates consist of characters that read from right to left, utilising the traditional Chinese method of reading. This reinforces how the traditions that existed in the market in the past are still preserved today, emphasising how despite the market’s constant adaptations and evolving towards current affairs, the market continues to preserve its fundamental values and practices, hence why it is ‘immovable’. Therefore, my film serves as a reflection of the Hong Kong people’s resilience and perseverance in the face of adversities. Similar to how the market’s values and traditions remained unmoved over the years, Hong Kong people remained united and strong in navigating recent challenges and changes that have shaped our political and social landscape. 

Furthermore, my film highlights the relationships and dynamics of the customers and the store vendors, demonstrating how it is the people who create and make up the space of the fruit market. As Michel de Certeau states in ‘Walking in the City’, “Stories thus carry out a labour that constantly transforms places into spaces and spaces into places”. This appears to be true in the Yau Ma Tei Fruit Market; rather than architectural walls and physical boundaries defining the fruit market, it is the people, such as the customers and the store vendors, that animate and make up the space. This is true as the stalls and stores within the Yau Ma Tei Fruit Market cannot be located on a physical map; it is simply a manifestation of the dynamic relationships between the people residing and working there. I exemplify this through my film by incorporating many shots of the interactions between people in 1:38-2:18, highlighting people’s individual lives and unique stories that are unheard and unknown to the audience. Additionally, I never filmed the same customer twice to emphasise on the uniqueness of each individual’s experience within the fruit market, highlighting the diverse range of stories that make up the space of the Yau Ma Tei Fruit Market. 

Many unique experiences were shot, such as a couple holding hands (01:37-01:42), a man holding an umbrella for his partner (02:06-02:14), a few customers purchasing fruit and interacting with a store vendor(1:58-2:00). These shots in particular highlight the symbiotic relationship between these people. As seen on their expressions and physical movement, these people are immersed into the culture and atmosphere of the fruit market. Thus, these scenes highlight the sense of communal support and vitality that permeates the market, implying how it is not the physical structures that create the Yau Ma Tei Fruit Market, but rather, the people. 

In conclusion, my film was able to convey the communal spirit present within the Yau Ma Tei Fruit Market, as well as the timeless nature of the market. Through these concepts, I could effectively encapsulate the unwavering spirit of the Hong Kong people in the face of adversity. Ultimately, it is the ever-changing stories, sense of familiarity, and perseverance of Hong Kong people that make it the immovable city that we know and love. 

Bibliography

1. De Certeau, M. (1984). Walking in the City, and Spatial Stories. In S. Randall ed., The Practice of Everyday Life (pp. 91-110, 115-130). University of California Press.
2. Wong, K.-W. (1988). As Tears Go By.
3. Chan, F. (1999). Little Cheung.

Chiu Yin Ching

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