Photography as tool of investigation, by Cliff Kwok

PaK Chai (栢齊)

•An local activist photographer

•Social invisible

•Old public housing, old streets

•Recent works:

•Queen’s Pier (皇后碼頭)

•Wedding Card street(喜帖街)


About the Queen's Pier

•built in 1925, by British Colonial Government

•Closed for land reclamation

•Completely demolished

Pak Chais' Concern

•Social function >> historical value

•Who use the pier (public space)?

•Camera as Investigation tool

–Took photo every 30minutes , 24 hours

Discovery from the photos

•Multiple functional

•Daily users:

–many different social groups for various activities

–Daily schedule (from morning to night)

•4-5 am underground exchanges

• 6am elderly practiced Tai Chi

•8am group of housewife enjoyed their fan dancing

•10am wedding couples taking photo

•12 pm construction workers enjoyed their lunch

•2pm old men drink beers and played Chess

•4pm foreign domestic helpers chatting

Consequences of demolishing the Pier

•Break social network, if the place they daily gather is destroyed

•10-minute walking distance from the town centre exclude social activities

Conclusion

•Photography as tool of investigation

•Function and Importance of public space

Discussion

•Do you think Public Space is important? Why?

•Do you think that Public Space can enhance social relation and communication?

•Do you enjoy Public Space? Where (parks, open plazas… )?

acknowledge: photos by Pak Chai

Kith Tsang-“Hello! Hong Kong-Part 3”by Lam Ka Lee, Carrie (1042512)

Concept behind “Hello! Hong Kong – Part 3”

"哈囉！香港 - 第三集這是【哈囉！香港】系列的第三集，亦即是第三件同 名作品。目的是提供一個閱讀本土歷史的途徑。這件 作品的參照來自去年年初我開始研究的中國節日慶典 儀式。作品的靈感來自我近日對海港（香港之源） 的思考。（曾德平）”


"Hello! Hong Kong - Part 3 This is the part III of the series "Hello! Hong Kong". It is also the third piece of work with the same title. The aim is to provide a way of reading local history. The reference of the piece comes from my study of Chinese festivals in Hong Kong early last year. The inspiration is my recent thought on the port, the origin of Hong Kong.”(Kith Tsang)

About the art work

~Primary materials: bamboo, sheets of galvanized iron
~A bamboo bridge to one side of it where may serve as a viewing position
~2 metres long papier mache(紙板) boat had been placed inverted
~2 slide projectors projected a sequence of photographic images onto the side of boat
~1 showed coloured slides of weathered wall surfaces and advertisements
~Another one showed blurred black and white images of construction in progress along the waterfront of HK harbour
~Projected images simultaneously, images were allowed to overlap

What tells from the required reading "Para/Site Space"

~Fragile upturned boat: recalled HK's habour
~Papier mache boat: local craft skills whose survival is endangered as older practitioners fail to find apprentices to continue their trade
~Nanyin: vanishing tradition, melancholy tone reinforced the sense of loss conveyed by the visual’s elements
~Weathered Surface shown in the projected images: associated with the past and its loss or erosion
~Photographs of the harbour into bottles: gesture of preservation , recalled the traditional method used for preserving beancurd and other food products

Conclusion

~“We sigh on seeing such for what accompany our growth are fast disappearing with the passing of time and the modernization of the city. I think Tsang is reluctant to let the past being ruthlessly wiped off. What he tries to do is to establish the local secular history and cultural sensibilities through the reconstruction of his memories and imaginations”
~“Memories and history come from the lost as well as from the preserved, just like a partly-buried old drawer can be seen as a partly-protruded old drawer.

Question

With more and more traditions and landmarks (like Star Ferry Pier) are disappearing in Hong Kong, what do you think can be done in order to maintain Hong Kong cultural identity as an artist and the public like you?

Reference

http://www.para-site.org.hk/_pre/96_kith1.html
http://finearts.hku.hk/hkaa/artists.php?artist_id=057=057
http://www.parasite.org.hk/_pre/edwin_lai.htm

10. Our home: Shek Kip Mei 1954-2006, Vincent Yu by wing li 1187219

Vincent Yu, a photojournalist, had captured a series of photographs of the old Shek Kip Mei Estate. His photos deliver not only the images of the old Shek Kip Mei Estate but also the collective memories that people have who used to live there. “Shek Kip Mei is gone. Images remain and our memory” is the main theme of the photographs. This paper is a detailed discussion of the history of Shek Kip Mei Estate and also the analysis of this series of photographs.

History of Shek Kip Mei

In World War II, many people left Hong Kong during the Japanese Occupation of 1941 to 1945. As Hong Kong stabilized after the war, people came back to their homes and people in Mainland China immigrated to Hong Kong because of evading from the Civil War. In only five years time, the population of Hong Kong surged from 600,000 to 2,000,000. With such a population surge, living conditions in Hong Kong were getting worse. Many returnees and refugees could not afford to live in proper homes, instead, they lived in squatter homes, often on the hillsides which were built with sheets of iron and pieces of wood. You could imagine those squatter homes were poorly built with no planning, not to mention fire service installations. At that time, fire accidents were common since Kerosene is being used for cooking which is dangerous and residents were lack of awareness of fire accidents. On Christmas Eve of 1953, there was a worst fire ever happened in Shek Kip Mei. Tens of thousands of people were made homeless overnight. All of their belongings and properties were gone in a sudden.

Living environment

The government could not turn a blind eye over such a tragic. They soon provided temporary shelter to the victims. The Public Works Department cleared up the affected area and built a series of buildings which known as the Bowring Bungalows within two months. The two-storey buildings with no washroom, no kitchen, and no running water were built in a hurry to accommodate the victims. Although the living conditions in Bowring Bungalows were poor and crowded as three families were living in a small flat, it was far better to roam and sleep on the street. The bungalows managed to provide temporary shelter to the victims but it was only temporal. In 1954, Urban Council suggested the government to build resettlement estates to provide long-term housing. Therefore, the very first public housing estate, Shek Kip Mei Estate, was eventually constructed. The eight six-floor buildings with flats of 120 square feet which have no partition, no water and electricity supply were planned to house five adults. Sometimes, 2 or more families were living in one single small flat. Residents have to share washroom and running water with people in the same floor. Quarrels are arguments were common among them. However, on the other hand, neighbours were in close relations as they took care of each other and shared the same identity with similar backgrounds. This was how people lived in Shek Kip Mei Estate.

Artist’s attempts

With the rapid growth and developments in Hong Kong, more and more decent housing have been built for the accommodation of the residents. The government decided to demolish obsolete Shek Kip Mei Estate in 2006 so that they can reestablish that area. Once it is being demolished, we would never see how people were living in the very first public housing estate, representing the milestone of Hong Kong Housing development. Vincent Yu, a photojournalist, were born and raised in Hong Kong who concerns the rapid development of Hong Kong. He noticed that something was vanishing in our city, something old but invaluable was eliminating by society. In this money oriented society, history, memories, heritage would never be on the top of the preference list. Shek Kip Mei Estate inevitably faced the truth of being demolished as its economic and social functions were being exhausted. There is no similar work was done to reserve the images of a place. Vincent thinks he should not sit and wait silently and let it be so he decided to visit the residents were still living there right before the demolition and took pictures of them. He tried to remain some vivid images through his camera. His invaluable book is a series of photographs of Shek Kip Mei Estate and also provided a brief description of the history of Shek Kip Mei Estate. Through these images and supplementary text, subsequent generations can have a sense of how Hong Kong had been changed from a small fishing village to now a famous cosmopolitan city.

Golden Chicken 2, by Jack

Introduction of Golden Chicken 2:
Chinese: 金雞 2 Year: 2002
Director: Samson Chiu
Producer: Peter Chan Ho SunMain
Character: Ng Kwun Yu


Story:
Divided into two parts:First part – Acute Respiratory Syndrome (SARS period)Second part- decade spanning romance between Kum and her cousin


Intention:
-mirrored and complemented the success and setbacks of recent HK history
-convey some positive messages to the HK people
-appreciating HK people‘s tough and hard working attitude
-celebrating the anniversary of HK’s 50th year under Mainland rule hanging over the territory head


Positive messages:
-‘bad memories are necessary, it only to make the good thing better’
-positive attitude to tackle problem during the tough period in HK


Appreciation of HK people:
-Each character have their own story
-Anthony Wong- perishes in the throes of passion
-Ronald Cheung- mentally deranges john who attaches himself a little too closely Kum’s life and her body hair
-Leon Lai- hunky doctor who’s batting SARS and his own fatigue
-Angelica Lee- regret that she left and didn’t take care for her husband-Kum put a tough, chipper face on everything and resolves to carry on.


Prefer everything remain constant within 50 years:
-Andy Lau as the chief executive‘the linkage rate of currency between US and HK remain 7.8:1
-prefer unchanging within the future years-especially the political system (independence)


Further Question:
Are there any other representation of this film that the filmmaker want to present to us? If yes, what do you think about the techniques he used for presenting these messages to us

Golden Chicken 2, by Tsz

4. Sarah Wong, Site-Seeing I, 1996 and Phoebe Man, Site-Seeing, 1996 by Steven Chung

Sara Wong, Site-seeing, 1996,
and Phoebe Man, Site-seeing, 1996,

Steven Chung (1095454)

•Sara Wong, Site-seeing, 1996
•Temporary site specific mixed media
•Site: Para/Site ( 4 months in Sheung Wan)
•125cm x 125cm x 240cm

•A -Shape , tent , temporary shelter

•Site specific
•the particularities of local space and surrounding neighbourhood
•Wooden panel walls from nearby construction sites
•notice board of the neighborhood
•A scenery commonly found
around the place



•A built-in Television set, fan

•Symbol of old Hong Kong
•A small pool of water symbolize Victoria Harbor
•Evoke memory of Hong particular history
•A built-in Television set without pictures and signals
•Raise question on handover!?


•Phoebe Man, Site-seeing, 1996
•Temporary site specific mixed media
•Site: Para/Site ( 4 months in Sheung Wan)
•construction waste from nearby construction site
•Criticize urban transformation of the Hong Kong.



•fragments of mirror
• Slide
•Project images of old Sheung Wan urban landscape
•Strong Resonance of the past
•Less exploration about the handover

•Question
•Handover was past, Hong Kong people are more likely to celebrate Hong Kong become part of China.
•How should the new generation of Hong Kong Art ( installation art) be described?
•The word 'Playful‘ is promoted by Pheobe Man
•Playground - a Hong Kong/ Installation
/ Video/ Performance Event'
•Do you think it is a good way?
•Reference website
•http://www.para-site.org.hk/
•http://www.cyman.net/kao/playground.htm

Week 10.Nathan Road (by wyman lai)

Nathan Road

flOW:

1)brief introduce about Nathan Road Histroy and background information.

2)Shooting and consolidating features

3)Introduce some particular characteristic on Nathan Road.
- National characteristic
- Chinese and western style
- Advertisement
- Transportation
- History feature

4)conclusion

5)Q & A section

Week 8 Kay talks on 1:99 Short Films

<>>

By Andrew Lau, Alan Mak

Actors: Edison Chan, Shawn Yu, Andy Lau, Jacky Cheung etc.

Content:

Hong Kong- A small fishing village in the past and become a International city

Overcome lots of problems
(Falls into enemy’s hands for 3 years and 8 months, Typhoon, Cholera, Financial crisis in 1997 etc.)

Cheep Hong Kong people up to overcome the SARS crisis.

<<1:>>

An event supported by the Hong Kong Government.

More than 10 film directors in Hong Kong directed films to encourage people and to enhance civil education.

10. March 30 Mapping the City Vincent Yu Wai-kin "Our Home.. (3) by Cliff Kwok

flow:

1. the brief background of the project

2. different feelings conveyed by different mode of exhibition

site-specific vs museum

3. size of image

8. "My Flying Family" from 1:99 short films (2003), by Wong Tsz Ki Jackie 1178660

"My Flying Family"

By Mabel Cheung & Alex Law

presented on 26th March, 2009


1:99 Short Films Initiative

Federation of Hong Kong Filmmakers launched this non-profitable peogramme unnder the

support of the government in 2003. The action aimed at cheering up Hong Kong people who

were facing the SARS crisis. These films were shown in Singapore, Malaysia, the U. S.,
Taiwan, etc.

Representation of SARS/Themes

1. SARS as storm

~ the boy picks up a flower from a pool of water on the ground

~ gives us a sense that there was rain or even a destructive storm before

~ the flower(looks like Bauhinia) might symbolizes HK attacked by a storm(SARS)

2. Encouragement to HK people

~ depicts ‘success’ as ‘flying

~ medical professionals arrive from a helicopter as flying-men

~ telling people not to be afraid of falling to the bottom because: “All flights start from the

ground!”

3. Appreciation of medical workers

~ thank all those who work in the hospital

~ no matter they are famous senior doctors(those high up the sky) or simply cleaning workers in the hospitals(those down on the ground)

~ a challenge to the conventional hierachical perception

4. Expectation on the new generation

~ the boy use 'flying' to describe his family; proud of the old generation who all lived a difficult life

~ children and young people could learn from the children of the old generation to become tough and strong

Question

SARS is always being said to be a monster-like virus but are there any postive aspects that it

might brought to us?

Week 8 Kay talks on Film X 1:99 short films

Hello!Hong Kong Part 3 by Rachel

presentation of visual cultures of Hong Kong on 24 febuaray.

Title:Hello!Hong Kong Part 3
Artist:Kith Tsang
Year:1996
media:bamboo,galvanized iron sheet,papier mache boat ,glass of bottle,nanyin etc

the concept of his :1.his chilhood living mermoies to show us a old or local Hong Kong.2.inspiration of the Hong Kong harbour

Golden Chicken 2 by yeeman

•A local film made by Samson Chiu(趙良駿) in 2003
•Stars Sandra Ng, Jacky Cheung, Leon Lai, Andy Lau, etc.
•A direct response to SARS

Intro. Of Golden Chicken 2

•The film begins in 2046 with the 82-yr-old Kum looks at the narrowed Victoria ‘River’
•1) Worst year of her life = 2003 (SARS)
•2) Relationship with the money-hungry cousin
•Topics discussed: life, love, HK culture & spirit

1: Serious representation of SARS

•Insertion of actual news clips reporting the SARS incident
•Clips are in B & W
•Bring us back to the nightmare of SARS
•Makes us mentally sick
•Stirs up out negative emotions & feelings

•The portrayal of doctor (played by Leon Lai)
•His eyes, actions & conversation with Kum reveal his hardship
•Alienation with family
•Discrimination against him
•Only Kum cares about him
•Ironic (supposed to be hero, but being treated like a beggar)

2: Funny representation of SARS

•Shaving at the canteen
•Kum shaves all her body hair (= extreme)
•Make fun of ‘1:99’
•Kum says she’ll use 1:99 bleached water to wash the pig lung

•Kum’s attempts to make a living while dealing with germ conscious HK-ers
•E.g.Chan (played by Ronald Cheng)
•Using thermometers to check temperature
•Kum helps Chan to clean his body thoroughly
•Kum wrapped Chan in cling film

•Wong Jing-esque* toilet humor(王晶式搞笑)
•We’re supposed to be sympathetic with Chan after knowing he’s mentally ill, but it doesn’t work since we still see him as a weird buffoon
•Exaggerated & funny representation makes us forget SARS is a painful memory

CONCLUSION:
•Serious & heavy side: causes our resonance(共鳴) & sympathy
•Funny & relaxing side: make joke out of a disaster( typical of HK culture)
-Sandra Ng: “We’ve put the bloody SARS crisis into GC2, but we’ll present them in a ridiculous & comedic way” (《金雞2》亦加入了今年最血淋淋的「沙士」，但我們會用很荒謬、很喜劇的手法去表達。”)
•Balance between laughing & thinking

Kith Tsang, "Hello! Hong Kong-Part 3,1996 and Hello!Hong Kong Part 7,1997 and The Storage of Amnesia, 2000 by LAM KA LEE(Carrie)

The Visual Cultures of Hong Kong VIS 211/GE331 Sem 2 (2008- 09)

The Visual Cultures of Hong Kong VIS 211/GE331 Sem 2 (2008- 09)
Adjusted dates
Course Outline and Assessment Tasks

Lecture: Monday 11:30-1:20 (MBG12) Tutorials: Tuesday 4:00 (ARG05)
Lecturer: Dr Carol Archer Thursday 1:30 (ARG05)
Email: carcher@ln.edu.hk Phone: 2616 7458
Office hours: GE202/21, Tuesday 2:30-4, Thursday 3-5:30

Course Description

This course explores the visual cultures of contemporary Hong Kong. The first two units of the course examine contemporary Hong Kong visual culture from a broadly historical perspective, with special emphasis on the impact of two important events - the 1997 Handover and the 2003 SARS crisis. In the first unit, we look at visual productions from the period immediately before, during and after the Handover, examining
paintings, photographs, video art, sculptures and installation art. The second unit considers the ways that local identity was represented in art that responds to the 2003 SARS outbreak. The third unit turns to the city and urban space in Hong Kong. Diversely interpreted by photographers, filmmakers and other artists, the city may also be seen as keenly contested space. We compare such representations of Hong Kong with parallel developments in neighbouring Macao.

Policy on readings and participation

All students are expected to do the required reading before each week's classes. Required readings may be found on the webct site for our course, along with scans of key works of art. Please bring the relevant readings to both classes each week. Active participation is very important in this course.

Assessment
60% Continuous assessment

25% Mid-term research paper (5-6 double-spaced pages, 1500-1800 words, due by 5pm, Friday March 27 at Philo Dept Office, GE201/23)
20% Individual Presentation (Weeks 3-13 – key images and notes to be uploaded to blog “Visual HK 2009” at http://visualhk09.blogspot.com)
15% Participation

40% Final examination (2 hours duration)

I. Hong Kong Visual Art – from the Handover to the Present

1. Jan 19 Introduction

This class outlines the breadth and topics to be covered in the course, the approach that we will take, and the tasks and practices necessary to successfully complete the course.

2. Feb 9 Handover Art and HK Identity I

We look at the tension between Western and Chinese influence in Hong Kong art, before moving on to examine the variety of ways in which the approaching Handover impacted on local visual production.

Reading for Feb 9 and Feb 16 classes: David Clarke, "Living in the Shadow of the Future", in Hong Kong Art: Culture and Decolonisation, North Carolina: Duke, 2002, 38-69, especially 38-55.

Further reading: Robert Hobbs, “Hong Kong Now” (8-18), “Lucia Cheung” (19-21) and “Wong Shun-kit” (41-43). In Hong Kong Now: Essays by Robert Hobbs. Seattle and London: University of Washington Press, 1997

3. Feb 16 Handover Art and HK identity II
In this class we examine filmic responses to the Handover, and in particular
Mr Cinema (dir. Samson Chui, 2007). We look at the ways that HK history and identity is represented in this film, and consider the criticism that the film omits significant events.

Works for tutorial discussion:
Mr Cinema (dir. Samson Chui, 2007).
Wong Shun-kit, Waiting, 1996 and Basic Space, 1995
Phoebe Man Reunification with China, I am happy…, 1997
Desmond Kum Chi-keung, Transition Space, 1995
Lee Ka-sing, The Hero Playing with a Red Rubber Band, 1995

4. Feb 23 Installation Art

With the advent of new artist-run spaces such as Para/Site, installation art emerged in the second half of the 1990’s as a popular and influential visual medium in Hong Kong. This class focuses on the rise of installation art in Hong Kong.

Reading: David Clarke, "Para/Site Art Space", 70-99

Works for tutorial discussion:
Kith Tsang, Hello! Hong Kong- Part 3, 1996 and Hello! Hong Kong- Part 7, 1997 and The Storage of Amnesia, 2000
Sarah Wong, Site-Seeing I, 1996 and Phoebe Man, Site-Seeing, 1996
Phoebe Man, A Present for her Growth I, 1996

5. March 2 A City in Transition

In this class we examine the impacts of the Handover on architecture, street art and graffiti, window displays, advertising and fashion.

Reading: David Clarke, "The Visual Production of a Transition", 151-202 especially 175-202

Works for tutorial discussion:
Graffiti of Tsang Tsou Choi (King of Kowloon)
Handover period window displays, fashion designs and advertising (see Clarke chapter)

6. March 9 Made in Hong Kong: Contemporary Hong Kong Art Our focus in this class are two exhibitions of contemporary Hong Kong visual art –“Made in Hong Kong” (2007) and “Hong Kong, Hong Kong” (2008). In what ways do the works in this show represent a continuation of (or a departure from) the concerns noted in the works of art discussed in our previous classes?

Reading: “Made in Hong Kong”, Hong Kong: Hong Kong Museum of Art, 2007 (brochure and factsheet) ; Press Release for “Hong Kong, Hong Kong”, HanartTZ Gallery, 1-6.

Works for tutorial discussion:
Luis Chan, Sai Kung X, 1976
Chow Chun Fa, Front Page, ‘Hong Kong will still be a Paradise’ 2008; Repainting “10th Anniversary of Reunification” 2007, Repainting ‘Infernal Affairs’, 2007
Chu Hing Wah, Child Forever, 1992
Frog King Kwok (Kwok Mang-ho), Frog King Mobile Museum, 2007
Kum Chi-keung, Free, Walking 2007, Wandering in Space 2007
Wan Qingli, A Scoop, 2003, In the Middle of the Song, No one is in Sight, 2003

II. SARS AND CONTEMPORARY VISUAL PRODUCTION

7. March 16 Representations of the SARS crisis in visual art and film I
In 2003, the impact of the SARS crisis was felt to some degree by everyone in Hong Kong. How did filmmakers respond? This class focuses on the representation of SARS in Golden Chicken 2 (Samson Chui, 2003)

Work for tutorial discussion: Golden Chicken 2 (Samson Chui, 2003)

8. March 23 Representations of the SARS crisis in visual art and film II
In this class we look at the representation of SARS presented in the short films by the prominent Hong Kong directors who participated in the 1:99 Short films (2003) initiative.

Reading: Yau Wing Kit Vicky, Representing Illness: Patients, Monsters, and Microbes, M. Phil thesis, Department of Comparative Literature, University of Hong Kong, 82-130

Work for tutorial discussion: 1:99 Short Films (2003)

Mid-term research paper due by 5pm Friday March 27
Philosophy Dept Office GE212/23

III. THE CITY AND URBAN SPACE

9. March 30 Branding the city
In this class we look at the ways the city of Hong Kong is represented in popular film, and how these are linked both to local identity and the “branding” of the city as a tourist destination. We look in particular at the ways that Hong Kong is officially represented in current tourism campaigns and in the film “My Life as McDull” (dir. Toe Yuen, 2001).

Reading: Stephanie Donald and John G. Gammack. “Structures of Attention and the City of Life Hong Kong”. In Donald and Gammack, Tourism and the Branded City: film and identity on the Pacific Rim”. London: Ashgate, 2007. 63-86.

Works for tutorial discussion:
Hong Kong Tourism Board website (http://www.hktourismboard.com)
“My Life as McDull” (dir. Toe Yuen, 2001).


10. April 6 Mapping the City – competing visual representations of Hong Kong
The city of Hong Kong has provided a rich source of inspiration for contemporary photographers and filmmakers. This class surveys the diverse ways in which Hong Kong has been visually represented using the mediums of photography and film.

Reading: Guterriez and Portefaix, “Liquid Journey, Central Mid-levels Escalator”, HINGE, 54, 03.1999
Vincent Yu, Our Home: Shek Kip Mei 1954-2006. Hong Kong: MCCM Creations, 2007
Kenneth Lo, Nathan Road, Hong Kong: MCCM Creations, 2007


Works for tutorial discussion:
· Guterriez and Portefaix, Mid-levels Escalator
· Vincent Yu, Shek Kip Mei 1954-2006 series of photographs
· Kenneth Lo, Nathan Road series of photographs
· Mathias Woo, “Hong Kong Style” 2006

11. April 20 Representing Macao
In this class we look at artistic responses to the rapidly changing region of Macao, two of which represented Macao in its first ever entry to the Venice Biennale in 2007. We compare the ways in which Macao and Hong Kong have been visually represented in recent years.

Reading: Carol Archer “Edictum Ridiculum: Konstantin Bessmertny”. In Macau Closer, July/ August, 2007; Carol Archer, “Spaces in Transition: Photographs by Adam Lampton”, Macau Closer, September 2007; Lui Brothers, Macau Closer

Works for tutorial discussion:
Konstantin Bessmertny: Si Monumentum Requiris, Circumspice, 2007
Adam Lampton: Macao photographs
Lui Brothers: Macao’s Gondola, 2007

12. April 27 Review - key themes and visual images
This class reassesses Hong Kong visual culture from the point of view of the themes, issues and visual images encountered in the course.

Assessment

Tutorial presentations
Each week 2 students discuss a particular visual production (eg film, photograph, painting, fashion etc) related to that week’s lecture. These works are listed in the course outline and on the classblog (which may be accessed through webct). The pictures may all be found in “Images” folder on Webct. The maximum duration of each presentation is 5 minutes.

A good presentation will include:

details of the work – artist, title, year, media etc
what the required reading has to say about this work
additional information you have found about it – you may show additional images of the work, or images of one similar work by the same artist, and share one or two key quotes about the work
your own opinion of the work and its significance
a list of the names of authors, titles of articles, books or websites (along with the publication information) that are especially relevant to this work
one thought-provoking question on the topic for your tutorial group

Before or on the day of your presentation please upload the key details of your presentation to the classblog. The link to the blog is on our webct site. Our username is Carolarchersclass and the password is 11112222. This blog will provide a useful and convenient study reference for all class members.

Mid-term Research Paper
Due date: Friday March 27 at Philo dept office GE201/23

Length and format: 1500 - 1800 words/ 5-6 double-spaced pages

Attached to the front of your essay should be:
1) the VS Programme “Anti-plagiarism declaration” (available on our webct site)
2) a title page listing your name, the essay question that you are answering and the course details.
At the end of your essay there should be a reference list, which lists the books and articles and websites that you used in preparing your work.

Note on proper acknowledgement of sources (avoiding plagiarism):

The words and ideas of other writers (whether they have been put into your own words or appear within quotation marks) should be properly acknowledged within the essay and in the reference list at the end of the essay. The Chicago Style Guide has been adopted by the Visual Studies Programme and has been posted on webct for your reference.

Mid-term Essay questions

1. Hong Kong art reveals different attitudes to the Handover. Discuss this statement, supporting your point of view with a detailed discussion of three of the artworks listed for tutorial discussion.

2. “The installation art that appeared at Para/Site during the Handover period reminds us of local Hong Kong culture, and its loss”. Referring to several of the listed installation works, discuss the extent to which you agree with this statement.

3. Compare and contrast the way in which the SARS crisis is presented in two of the Hong Kong films discussed in class. Support your opinion with a detailed discussion of relevant parts of those films, and quotes from relevant sources.

4. Which visual production (eg film, art, fashion, advertisement, etc) from this course impresses you most? What does it communicate? Back up your opinion with a detailed description of the work, and quotes from relevant texts.

Final Examination held during examination period

The examination (two hours in duration) will comprise short answer and essay questions. Questions will be based on the topics and works covered during the entire course.

3. "Mr Cinema" (dir. Samson Chui, 2007) by Lili, Li Hoi Ting 1184061

19 Feb 2009 Visual culture in Hong Kongpresentation on Mr. Cinema by Lili

l The Context of the fim:Title: Mr. CinemaReleased/ Year: 2007/ Director: Samson Chiu Leung Chun

l Similar works by the same artist:金鷄２ Golden Chicken 2(2003)/金鷄 Golden Chicken (2002)
l How the Hong Kong identity being represented in this film:1. Common historical experience2. The Differentiation between Hong Konger and Mainland Chinese3. Materialistism4. The Spirit of Hong Kongnese5. Family relationship
l Further question:How the HK History being represented in the film? Is it a kind of “selective history” as political correct?

References:Kozo. “Mr Cinema”. retrieved from http://www.lovehkfilm.com/reviews_2/mr_cinema.htm [accessed 7 January, 2009]
DEREK ELLEY, “Mr Cinema” , Nov. 21, 2007 retrieved from
http://www.atchinese.com/index.php?option=com_content&task=view&id=35047&Itemid=91
Atchinese.com,老港正傳：揶揄社會主義的虛妄, 2007/06/12 retrieved from http://www.atchinese.com/index.php?option=com_content&task=view&id=35047&Itemid=91

3. Wong Shun-kit, "Waiting", 1996 and "Basic Space", 1995, by

3. Phoebe Man "Reunification with China, I am happy…," 1997 by Mandy So

• Title: Reunification with China, I am happy. Reunification with China, I am happy…
• Artist: Phoebe Man
• Year: 1997
• Media: Plastic (Installation Art)

Issues raised by the work:

- Sincerity of the Business Community

- Uncertainty of the future

- Pretense of Hong Kong People

My opinion towards the work:

- Direct and interesting method (mimicry of the buildings, use of color, arrangment)

- A contrast of the feelings of Hong Kong people(Surface: Happy; Hidden: Anxious of the future)

Another work by Phoebe Man

• Title: 97 Budhisattva
• Year: 1995
• Media: Mixed media (installation art)
• Use a sex toy to pretend to be Budhisattva菩薩
--> Hong Kong people concerned more about sex and money more than the Handover

Reference:

• Davis Clarke, “ Living in the Shadow of the Future”, in Hong Kong Art: Culture and Decolonisation, North Carolina: Duke, 2002

• Pun Sing Lui, “Forward”, in Pre’ 97 Special Arts Zone, Hong Kong : Sun Sai Kei Publisher, 1996

Discussion Question:

Do you have the same feeling with Phone Man (pretense of Hong Kong people, uncertainty of future and insincerity of the business community) during 1997 or now ?

Have your attitude towards Handover been changed over these 12 years? And How?

3. Desmond Kum Chi-keung, "Transition Space", 1995 by Maximilian Yuen

Artist biography page:
http://www.ajc-art.com/artists/KUMChiKeung/biography/

List of his works:
http://finearts.hku.hk/hkaa/artists.php?artist_id=027

not too helpful references:
http://www.publicart.org.hk/ch/news_details_eng.php?id=24
http://appledaily.atnext.com/template/apple_sub/art_main.cfm?iss_id=20070511&sec_id=38163&subsec_id=6038907&art_id=7089716
http://www.alliancefrancaise.com.hk/paroles/numeros/207/02.html
http://big5.am765.com/xw/xwfl/ga/200712/t20071221_316626.htm
http://cgi.cnn.com/ASIANOW/asiaweek/magazine/2000/0929/as.art.html

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