From the second reading (“Noirs”), we can tell that film brings a contrast to architectural creations by giving a storytelling aspect to buildings, which can induce new feelings and perceptions of them. As we can see in the film “Elevator Girl,” where the protagonist takes people to different levels in a private building, it introduces the building typology and proves that film has a significant impact on the world of architecture. Additionally, in the same reading, it is mentioned how female figures started to be commonly used in films, such as female vigilantes as protagonists. The reason behind this is mainly to give people hope that equal chances are presented for both genders to participate in films and as a counteract to male-centered narratives. Furthermore, special shot techniques (e.g., frozen shots, multi-viewpoint first-person) are utilized to produce a deeper comprehension of the female sense of time and place. Besides that, urban interior spaces as location shoots are utilized to portray modernism in Hong Kong, demonstrating the difference between the city’s unequal parts and how the city will appear in the future.
Name: Georgy Valencio, Siswanta
UID: 3035898896
I appreciate your well-structured reading summary and personal reflection, especially your statement that “women are more likely to be a carrier, not a leader in economic, social, and political aspects.” I would suggest you elaborate on it with more cases and discussion. Besides, there are several questions worth more reflection on: 1) Why did women frequently appear in HK films as protagonists since the 1960s? 2) Black Rose and Elevator Girl respectively shaped 2 sorts of women — upper class & working class. Why did Hong Kong’s noir pay much attention to these two social classes at the early age (especially in the mid-1950s & mid-1960s)? 3) How did women serve as a tool/ method/ medium to narrate the city? Why? 4) How did woman-themed films capture and shot women differently compared with the male-centered ones?