The mass emergence of films and cinema in Hong Kong after during the 1950s provided the identity of modern Hong Kong people.
Films constructed the cultural identity for modern Hong Kong
Under the background of a post war period, the urgency of employment caused by the rapid expansion of industry. Films reflected the life of workers and displayed it on the screen. Leung Ping-kwan interprets in his book “Urban Cinema and The Cultural Identity of Hong Kong”. The ideological difference between capitalist United Kingdom and communist mainland China stemmed the production for sense of belonging to either side.
Meanwhile, culture independence arose from the conflict between hierarchies. The story on the screens stirred up coherence from working class. On the other hand, they envied middle bourgeoisie’s wealthy life. These features compose the uniqueness of Cantonese films and contradictory mindset from the locals.
Films emphazised modern female empowerment in Hong Kong
From the article “Noirs: The City, the Woman and Other Spaces”, we know films had been kept paying endeavour on getting rid of the only role of housewives, or even nannies, refer to several extreme examples. Films focus on many scenes of interior setting such as factories and offices, to prove the ability of women. The article provides examples such as The Forsaken Love, 1968 and The Apartment, 1960 as evidence.
Apart from the working environments. We have films like Black Rose, 1965 and Elevator Girls, 1965. The images of woman created are diversified while embedding with many positive characteristics.
Shu Yau Shing 3036067597
Your comment is well-structured and effectively conveys your appreciation for the connection with contemporary themes of mass media and the amplification of cinema’s effects in our current context. Regarding your question about the experience of walking out of the theater, it prompts reflective engagement.