Modern city life and city's relations in Chungking Express

In the recent decades of the development of Hong Kong Cinema, especially in the time of Hong Kong New Wave, there are really number representable Hong Kong filmmakers. Wong Kai-wai, being one of the late Hong Kong New Wave filmmaker, is famous and popular in his works with post-modern features. One of his romantic comedy genre work - Chungking Express, is noted in expressing the urban cityscape of Hong Kong, particular in the place of Tsimshatsui and Central. Similar to Wong's previous films, the expressing of the themes and motifs of time, love, lost and searching for self-identification. These elements enable Chungking Express to give a good picture of protagonists' frustration and loneliness in Hong Kong to the audience. In this essay, I will start from the modern urbanscape sitting in Hong Kong, and try to figure out the modern city life style in relating to time and memory. Further, I would try to focus on the inter-personal relations inside the geographical identity of Hong Kong.

Nationalism in Once upon a Time in China

As being the new remake of the continuation of Huang Fei-hung series from Kwan Tak-hing, Tsui Hark has used the new Huang Fei-hung(played by Jet Li) to illustrate a new from of kung fu film in terms of the derivation from the 70s martial art films and to express his own cult style in his production. In Once upon a Time in China, won a big success in box office and also brought along with a new representation nationalism form to foreign audience. In contrast with the defined perception in Encyclopedia Britannica of nationalism: loyalty and devotion to the state such that national interests are placed above individual or global interest, the "nationalism" in Tsui Hark's mind should be featured in the form of national style, instead of the blindly expression of nationalism. Here, I will try to use Once upon a Time in China to illustrate the nationalism from Tsui Hark, and indicate its significant.

From Colonial History to Nostalgia in
He Ain't Heavy, He is My Brother

Being one of the most significant political issue in Hong Kong history - the signing of Sino-British Joint Declaration in 1984, was one of the reason that brought along with a various social phenomena after the mid 1980s. These phenomena included the redefining of Hong Kong cultural identity and the arisen of different representations of nostalgia in different cultural texts. To large extent, both the two social phenomena mentioned are the reflections of the time of Hong Kong colonial history. In these reflections, the emotional and allegorical messages can be noted in different texts, especially films as a cultural industry product. In this sense, it will be appealing to find out reasons or discourses to try to figure out the corresponding issue in the time line of colonial history. Looking back to the colonial history of Hong Kong, there were different events and ideological changes in affecting Hong Kong peoples' attitudes and feelings. By breaking down the motifs in the film texts during 1980s and 1990s, as the period of post-colonial, I hope to figure out a clearer concept of why and how HK nostalgia films are related to the colonial history. And further, how nostalgic sentiment is being presented in Hong Kong nostalgia films. To answer these questions, He Ain't Heavy, He is My Brother from Peter Chan and Lee Chi-Ngai, will be used to show the signifier for the relationship of colonial history and nostalgia films.

水深火熱的 重慶森林

水深火熱是在說在幹 "帶回家的期中試" 中的我了。

如何將倫理道德與全球暖化拉上關系

話說早前在在忙到快死的情況下溫習civl 171 (Climate Change: Miltigation and Adaption) 的時候，忽發奇想地想到了看似頗有看頭的想法。