The distinctive division between Hong Kong and the People’s Republic of China did not only exist in a mere ideological form, but also showed its power in its cultural and artistic developments. Leung Ping-kwan’s writing reveals the cultural identity of Hong Kong that is presented via Hong Kong cinema, beginning from the cinema of the 1950s to the early 2000s. The concept of Hong Kong as a newly developing city, throughout the history, is captured as something with ambivalent meaning. From the 50s, early Hong Kong films would portray Hong Kong as a negative place, different from peaceful life of country. At the same time, however, Hong Kong was presented as lively and fast-developing city with much more potential than the country life. As the author mentions, the “clear-cut dichotomy between the city and the country” is present throughout the history of Hong Kong cinema. As the time progresses, Hong Kong films also show the changing lifestyle of Hong Kong people–from traditional to modern– essentially showing the complex mixture of Eastern and Western culture, with its unique characteristics of postcolonial city.
3035859929, Park Junseo
It is awesome that you recognize the evolution of the Hong Kong cinematic industry and track it by highlighting the segregation between city and nation. I would like to hear more reflections on how space/architecture specifically serves for filmmaking to demonstrate directors’ attitudes/perspectives of such segregation in various eras, and how the “changing lifestyle of Hong Kong people” be reflected in space and architecture. Besides, I would suggest adding more analysis of case studies and filmic techniques, like lens movement, lighting, and set design, which will help to make your writing more solid and convincing.