Walking to Nam Kok Hotel

A scene from The World of Suzie Wong, in which the male protagonist walks from the Star Ferry Pier to Nam Kok Hotel in Wan Chai, is superimposed with various scenes from other films featuring Hong Kong, or inspired by it, to present how Hollywood’s imagination relies on colonial, novelty-seeking perspectives. In American film, the Hong Kong streetscape is portrayed as a stereotypical chaotic scene of backwardness, coming from a perspective of colonial origins. A scene from The World of Suzie Wong, in which the male protagonist walks from the Star Ferry Pier to Nam Kok Hotel in Wan Chai, is superimposed with various scenes from other films featuring Hong Kong, or inspired by it, to present how Hollywood’s imagination relies on colonial, novelty-seeking perspectives. In American film, the Hong Kong streetscape is portrayed as a stereotypical chaotic scene of backwardness, coming from a perspective of colonial origins. A scene from The World of Suzie Wong, in which the male protagonist walks from the Star Ferry Pier to Nam Kok Hotel in Wan Chai, is superimposed with various scenes from other films featuring Hong Kong, or inspired by it, to present how Hollywood’s imagination relies on colonial, novelty-seeking perspectives. In American film, the Hong Kong streetscape is portrayed as a stereotypical chaotic scene of backwardness, coming from a perspective of colonial origins. A scene from The World of Suzie Wong, in which the male protagonist walks from the Star Ferry Pier to Nam Kok Hotel in Wan Chai, is superimposed with various scenes from other films featuring Hong Kong, or inspired by it, to present how Hollywood’s imagination relies on colonial, novelty-seeking perspectives. In American film, the Hong Kong streetscape is portrayed as a stereotypical chaotic scene of backwardness, coming from a perspective of colonial origins.