The Forgotten Space in Hong Kong : Ann Hui’s Cinematics of Everyday Life in The Way We Are
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This essay is aimed at exploring one of the most prominent female filmmakers, Ann Hui’s cinematics of everyday life in her 2008 film The Way We Are by focusing how spaces are perceived, understood and represented. Hui’s approach to space in the film is characterized by ambivalence: on one hand, the urban space surrounding the characters is unremarkable, repetitive and routinized, in which people live ordinary lives without any dramatic events; on the other hand, such mundane spaces set the stage for affective investment and creative practices, which enable people to resist the dehumanizing forces in the neoliberal metropolis of Hong Kong. The strength of Ann Hui’s cinematics of everyday life lies in its ability to reveal a tactical mobility of the underprivileged in Hong Kong to foster meaningful bonds in everyday space. Hui’s ambivalent approach to space uncovers the unrecognized aspect of the ordinary, the foreignness in the familiar, and the possibility of a surprise emerging from where it is least expected.
Abstract
This essay is aimed at exploring one of the most prominent female filmmakers, Ann Hui’s cinematics of everyday life in her 2008 film The Way We Are by focusing how spaces are perceived, understood and represented. Hui’s approach to space in the film is characterized by ambivalence: on one hand, the urban space surrounding the characters is unremarkable, repetitive and routinized, in which people live ordinary lives without any dramatic events; on the other hand, such mundane spaces set the stage for affective investment and creative practices, which enable people to resist the dehumanizing forces in the neoliberal metropolis of Hong Kong. The strength of Ann Hui’s cinematics of everyday life lies in its ability to reveal a tactical mobility of the underprivileged in Hong Kong to foster meaningful bonds in everyday space. Hui’s ambivalent approach to space uncovers the unrecognized aspect of the ordinary, the foreignness in the familiar, and the possibility of a surprise emerging from where it is least expected.
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