As Cheung addresses the depiction of the ghostly city and the demonstration of defamiliarization, I will respond to how the close relationship between them is shown in films.
Avery Gordon defines a ghostly city as a location where ghosts gather. I believe that “ghosts” refer to Hong Kong residents who lack authority over the city and are uncertain about the future due to historical reasons. Fruit Chan’s film attempted to investigate Hong Kong via discussions of social issues, rather than focusing on its positive aspects as an international city with amazing views.
Since public housing estates are essentially the physical homes of the lower-middle-class, Made in Hong Kong illustrates the inherent problem of homelessness in housing estates. As a result, the locations of Chan’s films are typically associated with people of lower- social status, and the themes concentrate on their social problems. For instance, Little Cheung presents the stowaway problem, and Ah Fun lives in an alleyway instead of a house.
Chan’s film features homeless characters who live in substandard conditions and are related to the handover uncertainty. Despite Hong Kong’s reputation as a rapidly rising city with plenty of chances, films highlight its socioeconomic issues to defamiliarize viewers and help them get a more accurate impression of the city. These characters also embody the term “ghost” in the sense that not only has the city forgotten about them, but they are also unable to recognize their position as lower-middle-class people who might not have been able to catch opportunities.
By Ye Tsz Yu (UID: 3036075702)