DOCSLIB.ORG

I the Cartography of Hong Kong Urban Space: Living

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
I the Cartography of Hong Kong Urban Space: Living The Cartography of Hong Kong Urban Space: Living and Walking in the Cinematic Cityscapes of Fruit Chan and Ann Hui by Huiqi Zhang Critical Asian Humanities Duke University Date:_______________________ Approved: ___________________________ Carlos Rojas, Advisor ___________________________ Eileen Chow ___________________________ Leo Ching Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Critical Asian Humanities in the Graduate School of Duke University 2021 i v ABSTRACT The Cartography of Hong Kong Urban Space: Living and Walking in the Cinematic Cityscapes of Fruit Chan and Ann Hui by Huiqi Zhang Critical Asian Humanities Duke University Date:_______________________ Approved: ___________________________ Carlos Rojas, Advisor ___________________________ Eileen Chow ___________________________ Leo Ching An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Critical Asian Humanities in the Graduate School of Duke University 2021 Copyright by Huiqi Zhang 2021 Abstract Hong Kong has long been ensnared in the problems of limited housing and soaring land prices, which renders its physical space one of the most visible criteria embodying its social inequalities. Regarding space as an overarching concern and framework, this thesis mainly focuses on the representations and portrayals of Hong Kong’s urban space in Fruit Chan and Ann Hui’s films and further examines how the directors engage with social spaces in reality through depicting various cinematic spaces. All of these films explore the grassroots space of the underprivileged and marginalized people, which constitutes the underside of Hong Kong’s glamorous urban space shaped by economic development and globalization. Fruit Chan’s Handover Trilogy including Made in Hong Kong (1997), The Longest Summer (1998), Little Cheung (1999), as well as the first two installments of his Prostitute Trilogy, Durian Durian (2000) and Hollywood Hong Kong (2000) hence reflect on how economic, political and social conditions are factored into the uncanny mutations and distortions of varying spaces ranging from public housing estates, cemeteries, streets to squatter villages. Ann Hui’s companion films, The Way We Are (2008) and Night and Fog (2009), offer a detailed characterization of public housing estates and discuss the notion of housing in metropolitan contexts. The two directors deploy and recreate these paradigmatic spaces of Hong Kong as a critique of the history and social hierarchy of iv Hong Kong, which are intimately involved with the complexity of postcoloniality, neoliberalism, and globalization. Based on theories of spatiality, psychoanalysis, and urban sociology, this thesis argues that these cinematic spaces can be viewed as a site to negotiate with urban planning, spatial practices, transregional and transnational movements. On the one hand, space registers the hierarchical division of the society that renders underprivileged population more vulnerable. On the other hand, connections and a sense of community can also emerge from the space appropriated by its inhabitants. Furthermore, by engaging with border-crossing subjects, these films explore social spaces beyond Hong Kong and provide possibilities of investigating the broader social reality of post-socialist China, destabilizing the static binaries between local and global, periphery and center. v Contents Abstract .......................................................................................................................................... iv Contents ......................................................................................................................................... vi List of Figures .............................................................................................................................. vii 1. Introduction ............................................................................................................................... 1 2. Chapter 1 Fruit Chan’s Kaleidoscope of Urban Spaces ..................................................... 15 2.1 A Space to Live, a Space to Die ..................................................................................... 18 2.1.1 Public Housing Units and Corridors: A Hopeless Life? ...................................... 19 2.1.2 Cemetery: A Space of Death .................................................................................... 29 2.2 Spatial Practices on the Streetscapes ............................................................................ 31 2.2.1 Streets as an Intimate Space ..................................................................................... 31 2.2.2 Prostitute on the Streets ............................................................................................ 36 2.3 Squatter Village as a Transitory Space ........................................................................ 44 3. Chapter 2 Ann Hui’s Mapping of Public Housing Estates ............................................... 53 3.1 Ann Hui, Hong Kong Cinema and A Critique of Representations of Space ......... 55 3.2 The Way We Are: The Mapping of Everyday Life .................................................... 61 3.2.1 Flashback as Retrospection of Urbanization ......................................................... 63 3.2.2 The Construction of Living Space ........................................................................... 66 3.3 Night and Fog: The Mapping of Gendered Space ..................................................... 70 3.4 The Apartment Plot as Narrative, Mapping as Spectatorship ................................. 79 4. Conclusion ................................................................................................................................ 84 vi References ..................................................................................................................................... 88 List of Figures Figure 1: Photo by Romain Jacquet-Lagrèze. ............................................................................ 1 Figure 2: Photo by Benny Lam. ................................................................................................... 2 Figure 3: Moon and Sylvester are waiting in front of the wrong elevator. ........................ 23 Figure 4: Ping is walking out from another elevator. ............................................................ 24 Figure 5: The circular shape of the sky in the public housing building in Lai Tak Tsuen. ........................................................................................................................................................ 25 Figure 6: The platform on which these ex-soldiers are planning the robbery. .................. 26 Figure 7: Bobby at the brim of the platform. ........................................................................... 27 Figure 8: The cylinder where they hide the robbed money. ................................................. 28 Figure 9: The small figure of Ga Yin on the square surrounded by high rises. ................. 29 Figure 10: Little Cheung is singing Cantonese opera on the street. .................................... 34 Figure 11: Protagonists in other two installments of Fruit Chan's Handover trilogy. ...... 36 Figure 12: Yan is walking on the streets. ................................................................................. 39 Figure 13: The close-up of Yan’s walking. ............................................................................... 39 Figure 14: Brother Keung in the alley of Tai Hom Village. ................................................... 47 Figure 15: The mismatched tattoo after surgery. .................................................................... 47 Figure 16: Hung Hung and Tiny are waving red cloth to each other to locate Chu's home in Tai Hom Village from her apartment in Plaza Hollywood. ............................................. 49 Figure 17: Tai Hom Village is overshadowed by Plaza Hollywood. ................................... 49 vii Figure 18: Tin Shui Wai before land reclamation. .................................................................. 64 Figure 19: Tin Shui Wai New Town. ........................................................................................ 64 Figure 20: The bamboo forests in a dreamlike flashback. ..................................................... 77 Figure 21: The bamboo forest in a flashback right after the murder. .................................. 77 viii 1. Introduction Hong Kong’s glaring skyline has always been a splendid spectacle for tourism and consumption with a collection of renowned architecture and landmarks. Its booming economy, together with the history of being a British colony and its current state as a Special Administrative Region of PRC render it an intriguing space to be examined. Due to limited land resources and high population density, high rises and skyscrapers are soaring higher whereas inhabitants’ living spaces become increasingly congested. Numerous photographers have presented stunning images of this city, among which Romain Jacquet-Lagrèze and Benny Lam’s works constitute an antithesis in terms of forms and contents. Interestingly, both of the selected pictures regarding buildings and complexes are shot during 2012, and yet these two photographers approach these architectures with different manners. Figure 1: Photo by Romain Jacquet-Lagrèze. 1 Figure
Load more

Recommended publications
  • Wendy Gan Hong Kong University Press the University of Hong Kong Pokfulam Road Hong Kong
    Wendy Gan Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2005 Hong Kong University Press ISBN 978-962-209-743-8 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Pre-Press Limited in Hong Kong, China Contents Series Preface vii Acknowledgments xi 1 Introduction 1 2 Contexts: Independent Filmmaking and Hong Kong 11 Cinema 3 Contexts: Social Realism in Hong Kong Cinema 25 4 The Representation of the Mainland Chinese Woman 43 in Durian Durian 5 Durian Adrift: The Contiguities of Identity in Durian 59 Durian ● vi CONTENTS 6 The Prostitute Trilogy So Far 81 7 Conclusion 91 Notes 97 Filmography 103 Bibliography 107 ●1 Introduction Durian Durian is not the film one immediately thinks of when the name of Hong Kong film director Fruit Chan is brought up. The stunning success, both locally and internationally, of his low-budget debut as an independent director, Made in Hong Kong, has ensured that Chan’s reputation will always be tied to that film. Yet Durian Durian has much to offer the lover of Hong Kong cinema and the admirer of Fruit Chan’s work. A post-1997 film set both in Hong Kong and mainland China, with mainland Chinese protagonists, the film is a fine example of a Hong Kong tradition of socially sensitive realist films focused on the low-caste outsider, and is the result of a maturing director’s attempt to articulate the new, often still contradictory, realities of ‘one country, two systems’ in action.
    [Show full text]
  • Hong Kong Final Report
    Urban Displacement Project Hong Kong Final Report Meg Heisler, Colleen Monahan, Luke Zhang, and Yuquan Zhou Table of Contents Executive Summary 5 Research Questions 5 Outline 5 Key Findings 6 Final Thoughts 7 Introduction 8 Research Questions 8 Outline 8 Background 10 Figure 1: Map of Hong Kong 10 Figure 2: Birthplaces of Hong Kong residents, 2001, 2006, 2011, 2016 11 Land Governance and Taxation 11 Economic Conditions and Entrenched Inequality 12 Figure 3: Median monthly domestic household income at LSBG level, 2016 13 Figure 4: Median rent to income ratio at LSBG level, 2016 13 Planning Agencies 14 Housing Policy, Types, and Conditions 15 Figure 5: Occupied quarters by type, 2001, 2006, 2011, 2016 16 Figure 6: Domestic households by housing tenure, 2001, 2006, 2011, 2016 16 Public Housing 17 Figure 7: Change in public rental housing at TPU level, 2001-2016 18 Private Housing 18 Figure 8: Change in private housing at TPU level, 2001-2016 19 Informal Housing 19 Figure 9: Rooftop housing, subdivided housing and cage housing in Hong Kong 20 The Gentrification Debate 20 Methodology 22 Urban Displacement Project: Hong Kong​ | ​1 Quantitative Analysis 22 Data Sources 22 Table 1: List of Data Sources 22 Typologies 23 Table 2: Typologies, 2001-2016 24 Sensitivity Analysis 24 Figures 10 and 11: 75% and 25% Criteria Thresholds vs. 70% and 30% Thresholds 25 Interviews 25 Quantitative Findings 26 Figure 12: Population change at TPU level, 2001-2016 26 Figure 13: Change in low-income households at TPU Level, 2001-2016 27 Typologies 27 Figure 14: Map of Typologies, 2001-2016 28 Table 3: Table of Draft Typologies, 2001-2016 28 Typology Limitations 29 Interview Findings 30 The Gentrification Debate 30 Land Scarcity 31 Figures 15 and 16: Google Earth Images of Wan Chai, Dec.
    [Show full text]
  • List of Buildings with Confirmed / Probable Cases of COVID-19
    List of Buildings With Confirmed / Probable Cases of COVID-19 List of Residential Buildings in Which Confirmed / Probable Cases Have Resided (Note: The buildings will remain on the list for 14 days since the reported date.) Related Confirmed / District Building Name Probable Case(s) Islands Hong Kong Skycity Marriott Hotel 5482 Islands Hong Kong Skycity Marriott Hotel 5483 Yau Tsim Mong Block 2, The Long Beach 5484 Kwun Tong Dorsett Kwun Tong, Hong Kong 5486 Wan Chai Victoria Heights, 43A Stubbs Road 5487 Islands Tower 3, The Visionary 5488 Sha Tin Yue Chak House, Yue Tin Court 5492 Islands Hong Kong Skycity Marriott Hotel 5496 Tuen Mun King On House, Shan King Estate 5497 Tuen Mun King On House, Shan King Estate 5498 Kowloon City Sik Man House, Ho Man Tin Estate 5499 Wan Chai 168 Tung Lo Wan Road 5500 Sha Tin Block F, Garden Rivera 5501 Sai Kung Clear Water Bay Apartments 5502 Southern Red Hill Park 5503 Sai Kung Po Lam Estate, Po Tai House 5504 Sha Tin Block F, Garden Rivera 5505 Islands Ying Yat House, Yat Tung Estate 5506 Kwun Tong Block 17, Laguna City 5507 Crowne Plaza Hong Kong Kowloon East Sai Kung 5509 Hotel Eastern Tower 2, Pacific Palisades 5510 Kowloon City Billion Court 5511 Yau Tsim Mong Lee Man Building 5512 Central & Western Tai Fat Building 5513 Wan Chai Malibu Garden 5514 Sai Kung Alto Residences 5515 Wan Chai Chee On Building 5516 Sai Kung Block 2, Hillview Court 5517 Tsuen Wan Hoi Pa San Tsuen 5518 Central & Western Flourish Court 5520 1 Related Confirmed / District Building Name Probable Case(s) Wong Tai Sin Fu Tung House, Tung Tau Estate 5521 Yau Tsim Mong Tai Chuen Building, Cosmopolitan Estates 5523 Yau Tsim Mong Yan Hong Building 5524 Sha Tin Block 5, Royal Ascot 5525 Sha Tin Yiu Ping House, Yiu On Estate 5526 Sha Tin Block 5, Royal Ascot 5529 Wan Chai Block E, Beverly Hill 5530 Yau Tsim Mong Tower 1, The Harbourside 5531 Yuen Long Wah Choi House, Tin Wah Estate 5532 Yau Tsim Mong Lee Man Building 5533 Yau Tsim Mong Paradise Square 5534 Kowloon City Tower 3, K.
    [Show full text]
  • Sungkyun Journal of East Asian Studies
    Sungkyun Journal of East Asian Studies On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema Xuelin ZHOU University of Auckland Sungkyun Journal of East Asian Studies. Vol. 8, No. 2 ⓒ 2008 Academy of East Asia Studies. pp.163-177 You may use content in the SJEAS back issues only for your personal, non-commercial use. Contents of each article do not represent opinions of SJEAS. Sungkyun Journal of East Asian Studies. Vol.8, No.2. � 2008 Academy of East Asian Studies. pp.163-177 On the Rooftop: A Study of Marginalized Youth Films in Hong Kong Cinema1 Xuelin ZHOU University of Auckland ABSTRACT Researchers of contemporary Hong Kong cinema have tended to concentrate on the monumental, metropolitan and/or historical works of such esteemed directors as Wong Kar-Wai, John Woo and Tsui Hark. This paper focuses instead on a number of low-budget films that circulated below the radar of Chinese as well as Western film scholars but were important to local young viewers, i.e. a cluster of films that feature deviant and marginalized youth as protagonists. They are very interesting as evidence of perceived social problems in contemporary Hong Kong. The paper aims to outline some main features of these marginalized youth films produced since the mid-1990s. Keywords: Hong Kong, cinema, youth culture, youth film, marginalized youth On the Rooftop A scene set on the rooftop of a skyscraper in central Hong Kong appears in New Police Story(2004), or Xin jingcha gushi, by the Hong Kong director Benny Chan, an action drama that features an aged local police officer struggling to fight a group of trouble-making, tech-savvy teenagers.2 The young people are using the rooftop for an “X-party,” an occasion for showing off their skills of skateboarding and cycling, by doing daredevil stunts along the edge of the building.
    [Show full text]
  • A Brief Highlight of Stations Along the Alignment
    A brief highlight of stations along the alignment Diamond Hill Station and Depot New Diamond Station and depot facility located at previous Tai Hom Village Existing MTR Kwun Tong Line Approx. location of Kai Tak Station Hung Hom To Kwa Wan Kowloon City Approximate run of Shatin-Central Link Location of the Kai Tak Station of SCL Advance works for Kai Tak Development nearby the Kai Tak Station of SCL The urban environment of the nearby district Toward Ho Man Tin Station Kwun Tong Line Extension as a sub-network to the Shatin Central Link serving the Whampoa District The urban environment of the nearby district Satellite map showing the original layout of the site Homantin Station, which is an interchanging station for the SCL and KTE lines The land reserved for the Ho Man Tin Station (previous Valley Road Estate) before site formation Site formation for the Ho Man Tin Station Advance work for the Whampoa Station in early 2012 Phasing arrangement to convert Hung Hom Station into an interchanging station The International Mail Centre – to be relocated to Kowloon Bay due to part of the building foundations will be infringed by the SCL harbour crossing tunnel Future seawall of WC Reclamation zone Storing of explosive for drill-and-blast tunnel works The Tuen Mun Western Bypass and Tuen Mun-Chek Lap Kok Link To meet future traffic demand for the Northwest New Territories and Lantau, a plan to develop the Tuen Mun Western Bypass (9 km) and the Tuen Mun-Chek Lap Kok Link (4 km in immersed-tube) at a cost of over $20 billion is proposed.
    [Show full text]
  • Wong Tai Sin Temple Is One of the !"#$%&'(')*!"#+ Famous Religious Places in Hong Kong !"#$%&'()
    !"#$%&'()* !"#$%&'() ========================== ! "#$%&' !"#$%&'()*+,-./ ! ! ! ! ! ! ! ! !"#$%&'()*+,-.. " " " " " " " " # # # # # # !"#$%&'()*+,-. $ $ $ $ $ $ !"#$%&'(')*!"#+ % % % % % % ! & & & & & !"#$%&'() !"#$%&'()&* " ' & ' ' ' ' ! Wong Tai Sin Temple is one of the ' ( ( ( ( " ( ( ) ) ) famous religious places in Hong Kong # ) ) * * * $ ! * * + ) + + % " + + , * , , !"#$%&'()*+,-./ # , , - + - - !"#$%&"'() !*+ !"#$%&'()*+,-./ !"#$%&'()#*$%+, !"#$%&'()*+,-. !"#$%&'()*+,-./ VV !"# The old Wong= Tai Sin!"#$% Temple, 1930s Section 2 Wong Tai Sin Chapter 2 stablished in 1921, Sik Sik Yuen brought to this community a Eunique name: Wong Tai Sin. The worship of the god Wong Tai Sin has attracted a lot of disciples. Mr. Peter Lo from Sik Sik Yuen says that in the early days elderly people did not know the exact location. So they just told the bus drivers to stop at “Wong Tai Sin”. Soon “Wong Tai Sin” became the alternative name for this little village. Mr. Lo Suk Ching from the New Territories Association of Societies lived in Wong Tai Sin during his youth. He remembers that at that time, Wong Tai Sin was no different from Sai Kung. They were both country areas. The land from Wong Tai Sin to Kai Tak Airport was all farmland and there was neither electricity supply nor proper forms of transportation. Later, after the road to San Po Kong was finished, the traffic network was started, to link the area with the other regions of Kowloon. !"#$%&'( Industrial area in Wong Tai Sin, 1951 NMM !"#$%&'()* !"#$%&'()* !"#$^ !" !"#$%&'()*+,-./ !"#$%&'()*+,-.& !"#$%&'()*+,-./ !"#$%&'()$*+,)- !"#$%&'()*+,-./ !"#$%&'()* NMN !"#$%&' Tze Wan Shan, 1951 he postwar Wong Tai Sin was soon developed into a Section 2 T community of industries and public housing. The Star Industrial Co. Ltd., which manufactured the famous “Red A” brand plastic products, was the most famous plastic producer in the 1950s and 1960s. Mr. Stephen Leung, who grew up with this Chapter 2 company, tells of the lives of the workers in the 1950s.
    [Show full text]
  • Laurent Courtiaud & Julien Carbon
    a film by laurent courtiaud & julien carbon 1 Red_nights_93X66.indd 1 7/05/10 10:36:21 A FILM BY LAURENT COURTIAUD & JULIEN CARBON HonG KonG, CHIna, FranCe, 2009 FrenCH, CantoneSe, MandarIn 98 MInuteS World SaleS 34, rue du Louvre | 75001 PARIS | Tel : +33 1 53 10 33 99 [email protected] | www.filmsdistribution.com InternatIonal PreSS Jessica Edwards Film First Co. | Tel : +1 91 76 20 85 29 | [email protected] SYNOPSIS A CantoneSE OPERA TELLS THE TRAGEDY of THE Jade EXecutioner, WHO HAD created A PoiSon THat KILLED by GIVING THE ultimate PLEASURE. THIS LEGEND HAPPENS AGAIN noWadayS WHEN A FrencH Woman EScaPES to HonG KonG AFTER HAVING KILLED HER loVER to taKE AN ANTIQUE HoldinG, THE infamouS Potion. SHE becomeS THE HAND of fate THat PITS A TAIWANESE GANGSTER AGAINST AN EPicurean Woman murderer WHO SEES HERSELF AS A NEW incarnation of THE Jade EXecutioner. 4 3 DIRECTORS’ NOTE OF INTENT “ Les Nuits Rouges du Bourreau de But one just needs to wander at night along Jade ”. “Red Nights Of The Jade Exe- the mid-levels lanes on Hong Kong island, a cutioner”. The French title reminds maze of stairs and narrow streets connecting of double bills cinemas that scree- ancient theatres, temples and high tech buil- ned Italian “Gialli” and Chinese “Wu dings with silent mansions hidden among the trees up along the peak, to know this is a per- Xia Pian”. The end of the 60s, when fect playground for a maniac killer in trench genre and exploitation cinema gave coat hunting attractive but terrified victims “à us transgressive and deviant pictures, la Mario Bava”.
    [Show full text]
  • Warriors As the Feminised Other
    Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle.
    [Show full text]
  • Award-Winning Hong Kong Film Gallants to Premiere at Hong Kong
    FOR IMMEDIATE RELEASE Award-winning Hong Kong film Gallants to premiere at Hong Kong Film Festival 2011 in Singapore One-week festival to feature a total of 10 titles including four new and four iconic 1990s Hong Kong films of action and romance comedy genres Singapore, 30 June 2011 – Movie-goers can look forward to a retro spin at the upcoming Hong Kong Film Festival 2011 (HKFF 2011) to be held from 14 to 20 July 2011 at Cathay Cineleisure Orchard. A winner of multiple awards at the Hong Kong Film Awards 2011, Gallants, will premiere at HKFF 2011. The action comedy film will take the audience down the memory lane of classic kung fu movies. Other new Hong Kong films to premiere at the festival include action drama Rebellion, youthful romance Breakup Club and Give Love. They are joined by retrospective titles - Swordsman II, Once Upon A Time in China II, A Chinese Odyssey: Pandora’s Box and All’s Well, Ends Well. Adding variety to the lineup is Quattro Hong Kong I and II, comprising a total of eight short films by renowned Hong Kong and Asian filmmakers commissioned by Brand Hong Kong and produced by the Hong Kong International Film Festival Society. The retrospective titles were selected in a voting exercise that took place via Facebook and SMS in May. Public were asked to select from a list of iconic 1990s Hong Kong films that they would like to catch on the big screen again. The list was nominated by three invited panelists, namely Randy Ang, local filmmaker; Wayne Lim, film reviewer for UW magazine; and Kenneth Kong, film reviewer for Radio 100.3.
    [Show full text]
  • Whole Fruit Address Store List
    Whole Fruit Address Store List Shop C, G/F., Elle Bldg., 192-198 Shaukiwan Road, Shaukiwan, HK Shop 3 & 4 Yue Fung House, Yue Wan Estate, HK Shop 120 & Portion of Shop 119 Level 1, New Jade Shopping Arcade, Chai Wan, HK Shop E, G/F, Hing Cheung Building, 15-31 Shaukiwan Road, HK Shop A, G/F, Healthy Village, 180-182 Tsat Tsz Mui Rd, Podium Lvl, NP, HK G/F & C/L, Siu King Bldg., 14-16 Tsat Tsz Mui Rd, North PoiN.T., HK G/F., 98 Electric Road, North PoiN.T., HK Shop G14 on G/F., Fu Shan Mansion, Stage III, Tai Koo Shing, HK Shop No.47 + 48, Harmony Garden, 9 Siu Sai Wan Road, Chai Wan, HK Shop C,D,E & F, G/F., 8 North PoiN.T. Road, North PoiN.T., HK G/F., Shop 3, Hing Wah Shopping CeN.T.re, Hing Wah Estate, Chai Wan, HK Shop No.G5, G/F., Fok Cheong Building, Nos.1032-1044 King's Rd., HK G/F., King's Road 963A, Quarry Bay, HK Shop 6 G/F, Home World, ProvideN.T. CeN.T.re, 21-53 Wharf Rd, North PoiN.T., HK Shop 3, G/F., Youth Outreach Jockey Club Building,1-18 Hing Man Street, Shaukeiwan, HK Shop No.1 on Lower Ground Floor, Braemar Hill Shopping CeN.T.re, No.45 Braemar Hill Road, Braemar Hill, HK Shop GC04, G/F., Lei King Wan, Site C, 35 Tai Hong Street, HK Shop C & D, G/F, Yan Wo Building, 70 Java Road, North PoiN.T., HK Shop No.
    [Show full text]
  • Urban Forms and the Politics of Property in Colonial Hong Kong By
    Speculative Modern: Urban Forms and the Politics of Property in Colonial Hong Kong by Cecilia Louise Chu A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Architecture in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Nezar AlSayyad, Chair Professor C. Greig Crysler Professor Eugene F. Irschick Spring 2012 Speculative Modern: Urban Forms and the Politics of Property in Colonial Hong Kong Copyright 2012 by Cecilia Louise Chu 1 Abstract Speculative Modern: Urban Forms and the Politics of Property in Colonial Hong Kong Cecilia Louise Chu Doctor of Philosophy in Architecture University of California, Berkeley Professor Nezar AlSayyad, Chair This dissertation traces the genealogy of property development and emergence of an urban milieu in Hong Kong between the 1870s and mid 1930s. This is a period that saw the transition of colonial rule from one that relied heavily on coercion to one that was increasingly “civil,” in the sense that a growing number of native Chinese came to willingly abide by, if not whole-heartedly accept, the rules and regulations of the colonial state whilst becoming more assertive in exercising their rights under the rule of law. Long hailed for its laissez-faire credentials and market freedom, Hong Kong offers a unique context to study what I call “speculative urbanism,” wherein the colonial government’s heavy reliance on generating revenue from private property supported a lucrative housing market that enriched a large number of native property owners. Although resenting the discrimination they encountered in the colonial territory, they were able to accumulate economic and social capital by working within and around the colonial regulatory system.
    [Show full text]
  • Representation of Females As Victims in Hong Kong Crime Films (2003-2015)
    REPRESENTATION OF FEMALES AS VICTIMS IN HONG KONG CRIME FILMS (2003-2015) Perspectives from One Nite in Mongkok, Protégé and The Stool Pigeon TINGTING HU (胡婷婷) MA. Media, Loughborough University, UK, 2011 BA. Arts, Shanghai Theatre Academy, China, 2010 This thesis is submitted for the degree of Master of Research Department of Media, Music, Communication and Cultural Studies Faculty of Arts Macquarie University, Sydney December 25, 2015 MRES Thesis 2015 Tingting HU (ID: 43765858) TABLE OF CONTENTS ABSTRACT ........................................................................................................................ iii CERTIFICATE OF AUTHORSHIP/ORIGINALITY .................................................. iv ACKNOWLEDGMENTS .................................................................................................. v CHAPTER 1 INTRODUCTION ....................................................................................... 1 CHAPTER 2 FEMINISM AND HONG KONG CRIME FILMS ................................. 7 Feminism and Film Studies .................................................................................................. 7 The Western Context ......................................................................................................... 7 The Chinese Context ....................................................................................................... 11 Crime Films and Violence Against Women ....................................................................... 15 Crime Films ...................................................................................................................
    [Show full text]