DOI: 10.5176/2382-5650_CCS13.24

Authors: HUO Shengxia


This article investigates the spatial representation of heterotopias in two Hong Kong independent film: Fruit Chan's Hollywood Hong Kong and Ann Hui's The Way We Are. Both of the two films focus on the living spaces of lower-class people-shantytown and public housing estates, which are repressed and forgotten by the official disclosure and ideological hegemony in Hong Kong. Fruit Chan and Ann Hui separately represent the heterotopias with creative cinematic language and aesthetic style. In Hollywood Hong Kong, the shantytown of Tai Hom Village is an oppressed space as the result of serious inequality and the social-spatial segregation in the context of globalization. Chan critically inherits the aesthetic of extravagance of Hong Kong popular cinema and changes its function into creating a shocking effect and making the invisible space visible again. In The Way We Are, Ann Hui focuses on the daily life of the dwellers in the public housing estates of Tin Shui Wai, and represents the both intimate and detached relationship between lower class and middle class. She creates an aesthetic of frugality, which echoes the frugal lifestyle of lower-class people.

Keywords: heterotopias, class, Fruit Chan, Ann Hui, aesthetic


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