As extrapolated by William Tsutsui (2010), the Japanese monster film genre represents the social peculiarities of the specific period of production. A recurring theme continues to be the eventual triumph of the Japanese people over foreign attack, echoing a Japanese tradition stretching back to the Mongol invasions of the 13th century.
By contrast, Hong Kong offers a unique reaction to the foreign, based neither on rejection nor full integration. Although the city’s economy and global identity is formed primarily as a fulcrum of foreign financial institutions; it rejects both the multiculturalism of a city like Singapore, or the insular ethnic dominance of most major cities. Instead, the city’s identity and urban landscapes are distinctly transitory. From an entrepôt port in its early history, followed by its manufacturing focus in the mid 20th century, to its status as a modern financial centre. Hong Kong’s landscapes have adjusted to suit the needs of its transitory population, perhaps more than any other city.
Bram Verhagen (3036112615)
Good summary on the readings in the first half of your response but I am uncertain if linking the content to the Mongol invasions in the 13th century is appropriate in this context. You have contrasted and compared Japan’s and Hong Kong’s conditions (nice summary in key Hong Kong’s stages in creating its own urban and economical identities) in your writing but there is almost no connection in between. Your writing would improve if a stronger overall coherence can be observed.