The representational space of In Search of Ghostly Contexts is an important platform for marginalized individuals to fight for their rights and solve social inequalities. Made in Hong Kong, a film by Fruit Chan, addresses this inequity by integrating its critique into the larger socio-political framework of Hong Kong’s upcoming political transfer. In Made in Hong Kong, Susan’s suicide highlights the inequitable living conditions generated by government neglect and represents the decay and ghostliness of Hong Kong’s urban landscape.
Prior to the handover in 1997, Hong Kong saw a significant political upheaval uncertainty. Such worries are reflected in films from the 1980s and 1990s, which expose the socioeconomic inequality of city society. These films use the urban environment as its primary backdrop, illustrating the city’s changing scenery. They were centered around themes of inequality, social mobility, and economic suffering.
Public housing programmes date back to the early 20th century and were designed to meet the city’s housing needs. Low-income households were able to access affordable housing thanks to programs started in the 1950s and 1960s, like the building of Shek Kip Mei Estate. In recent decades, Hong Kong’s public housing system has evolved in response to changing demographic and socio-economic trends. One notable development is the expansion of the Public Rental Housing (PRH) and the Home Ownership Scheme (HOS). These aim to provide subsidized housing for low and middle income families by offering PRH flats for rent and HOS flats for purchase at below-market prices.
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