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Abstract

This paper discusses how Fleur's association to some of the worldwide ghost tours insinuates the haunting quality of the past, time, and the cityscape; in other words, it discusses how the tragic love story between Fleur and Twelfth Master can also be allegorically read as a tragic cultural story of Hong Kong. This discussion allegorically reads Fleur, Twelfth Master and Yuen as figures hauled by modernity.

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