To a moderate extent, I agree with the perspective of Abbas. Often in films, the portrayal of cities is fogged by generalization and trends and stray away from genuine portrayal. However, for Hong Kong to be identified as a generic city due to such occurrence is up for debate. Personally, residing in multiple countries, there are qualities of Hong Kong that cannot be found in other areas. While Hong Kong is known for being multicultural, there are still hints of historical genetics inside of buildings. It feels as if the buildings speak two languages, global and Cantonese. However, Abbas’s perspective could be valid due to generalization globally with frequent data sharing. One unique aspect seen in one city like Hong Kong could also influence and be seen in other areas of the world hence why Abbas may describe Hong Kong as a generic city.
Seo Jun Ho 3035855430
I appreciate your attempt to view Hong Kong’s cultural, historical, and architectural heritage globally. Ironically, drawing Hong Kong as a generic city can represent its heterogeneity and inclusiveness. How can films reveal or conceal heterogeneity and inclusiveness? Please further reflect on how film, as a visual media, plays a role in global data sharing. Consider, for example, how movies and their transnational mobility shape and reshape the image of Hong Kong.