This post is part of a series of essays that emerged from Henry Jenkins’ doctoral seminar on global genres at the University of Southern California. In this contribution, Georgiana Yasumura considers how Kowloon Walled City (KWC, also known as the “city of darkness”) is its own independent character within Hong Kong media. KWC’s spatial presence across Hong Kong’s global mediascapes reveals more than a visually haunting, post-apocalyptic fortress; it also draws attention to issues of nationhood, personal liberation and social justice that are integral to the genre of cross-border film.