Monday, February 4, 2013

Figure of women in Hong Kong Cinema

Introduction

Hong Kong in many occasions is seen as a manoeuvre that filled with ambivalent. Hong Kong is some(prenominal) East (from a Western sign of view) and West (from a Chinese point of view), both subaltern and hegemonic as a dynamic financial and trading centre, both premodern and postmodern. (Stephen Teo, 1997: pp.248) This ambivalent also exists in the modernity of woman in Hong Kong. In recent years, numerous of movies made in Hong Kong had more than or less highlighted the figures of woman as moments of existential and ontology crisis. In supporting the argument, the movie called 20 30 40/ Nu Ren 20 30 40, directed by Sylvia Chang/ Zhang Ai Jia unrivalled of the forward Hong Kong movies coifing, go out be used as a hateful throughout this essay. With varieties of other form of academic resources, this essay aims to fetch through, mainly, three areas: 1) woman-as-home, 2) woman-as-truth, and 3) woman-as-modernity. Since the story is base on the three woman, which develop 20, act by Lee Sinje; 30, act by Rene Liu; and 40, act by Sylvia Chang, the essay will focus on these exclusive women.

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Aged 40 Lily Shi (Sylvia Chang)

This shell was first introduced into the story with a scene where she is busy recording every moments with her family with her video camera, spot they are at the airport, on the way back from a vacation trip. She had put in a great essay in requesting for comments from both her daughter and husband while one is busy on the phone and the other is playing games on the phone. Not surprisingly she did not receive any repartee from them. After a short while in the movie, she give herself to be shocked when she accidentally realizes that her husband had established other family outside and had a child aged a some years old already. These are set up of the character in order to further demonstrate how and in what shipway a forty year old woman will continue her life in todays society.

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