In Abbas’ text, the Hong Kong films Crouching Tiger, Hidden Dragon and In the Mood for Love are used as examples to demonstrate the global identity issue of Hong Kong around 1997, the year of transfer of sovereignty over Hong Kong. These films respond to the idea of Generic City by creating, forming divergent cinematic practices. Due to the development and rise of some China cities such as Shanghai, Hong Kong’s position in the global community has gradually become less unique. Meanwhile, Hong Kong people’s oppositional thought towards China is quite altered, at least in the 2000s. Therefore, some old chinese stories are remade in a high-tech way and a ‘cyber-kung fu’ movie like the Crouching Tiger is produced. This actually helps reflect how the industry adapts to and conforms to the generic city.
Yan Ka Hin 3035829144
Good points on how the films could reflect the generic city. We discussed what each film was representing, taking into account Abbas’ perspective as well. It would be great if you can elaborate and go a little bit more detailed on this issue. For example, when you mentioned how Hong Kong is losing its uniqueness, you could give your audience an overview of what has been changing; what has been lost? Also, how has this disappearance related to the technology? What has the technology’s role been in this scheme? By asking consequential questions, you can help your readers to follow your arguments.