Hong Kong cinema of the 20th century mentioned in the article indicates its urban construction and the awakening, dialectic and individuation of the cultural identity. I think these movies frequently use the depiction of figurative architecture as a metaphor for the context and spirit behind the surface, using images and plots that are close to reality to resonate with the audience. For instance, the close-up of the hanging laundry room in the movie Space is gold highlights the isolated and crowded living environment in the urban framework. Laundry as a common architectural element of daily life devalues the rationalization of the city as a living space where many “laundries” congregate. This extends to a disapproval of Hong Kong’s cultural independence through modernization.
In contrast, the film Mis-setting the Love Trap shows the complexity and interplay of the social background of Hong Kong during the transition period, bringing out the shadows under the rapidly commercial development. The image of urban area is more contradictory here. Neon lights and amusement parks as the physical signs derived from modernization which also in conflict with the behavior of the characters in the film, presenting an antagonistic attitude towards the city between praise and condemnation.
By comparing the cultural pattens and attitudes towards the urbanization in Hong Kong and other countries through films reveals the differences in social identities and cultural imaginaries between them. This underlines the uniqueness of Hong Kong’s cultural characteristics and emphasizes that using other countries’ models to interpret and define Hong Kong’s cultural identity is overly one-sided.
SONG YIQUN
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Your writing response is very well. But, there are some improvements to look into: why is laundry room in Hong Kong devalued? Why and how the disapproval of Hong Kong’s cultural independence through modernization? You can elaborate more. What are the differences in social identities and cultural imaginaries between countries in your text? You can elaborate more on ‘…using other countries’ models to interpret and define Hong Kong’s cultural identity is overly one-sided.’