The two readings illustrate vastly different responses towards the threat of disappearance and the wide-scale disasters experienced by Hong Kong and Japan respectively. Correlating each location’s cultural and political history (“old”) to their evolving constructive vision (“new”), both readings exemplify the intricate—and often cyclical—relationship between the architectural development and cultural identity of a place.
In particular, Abbas explores the conflicting identity of Hong Kong as a former British colony, highlighting the selective preservation and incorporation of old buildings as a means of ‘keeping history in sight’ (Abbas 89), and how such representation should not form the singular historical narrative of the city as it leaves out what was demolished, and thus often forgotten.
Alternatively, Tsutsui details in his writing how monster films visualise and strengthen the meta-narrative of Japan overcoming nationwide crises or natural disasters. The frequent repetition of this narrative in tv series and films form ‘generally painless, self-correcting, and thoroughly optimistic spectacles’ (113) that showcase the restorative efforts of the Japanese, and epitomises their resilience and idealism towards a unified society working together to build a better future, figuratively and literally.
Lee Sum To Rachel (3035954250)