By Martha P. Nochimson

With 25 essays that include a large spectrum of themes and views together with intertextuality, transnationality, gender illustration, repetition, using tune, colour, and sound, depiction of time and area in human affairs, and Wong’s hugely unique portrayal of violence, A significant other to Wong Kar-Wai is a novel exam of the distinguished filmmaker identified world wide for the innovation, good looks, and keenness he brings to filmmaking.

  • Brings jointly the main leading edge, in-depth, and fascinating scholarship on arguably the best dwelling Asian filmmaker, from a multinational workforce of verified and emerging movie students and critics
  • Covers a major breadth of subject matters reminiscent of the culture of the jianghu in Wong's motion pictures; queering Wong's movies no longer when it comes to gender yet throughout the artist's liminality; the phenomenological Wong; Wong's intertextuality; the US via Wong's eyes; the optics of intensities, thresholds, and transfers of strength in Wong's cinema; and the diasporic presence of a few girls from Shanghai in Wong's Hong Kong
  • Examines the political, ancient, and sociological effect of Wong and his paintings, and discusses his paintings from a number of views together with glossy, post-modern, postcolonial, and queer theory
  • Includes appendices which study Wong’s paintings in Hong Kong tv and commercials

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Additional info for A Companion to Wong Kar-wai

Sample text

She also focuses on how Wong worked with Christopher Doyle in Ashes of Time to capture the indeterminacy of the experience of the desert in which it takes place. Depicting the desert as if it were a mirage, Wong and Doyle convey to the spectator the impossibility of finding clarity in the martial arts action narrative. As Reynaud sees it, the depiction of Wong’s various jiang hus creates a sensory experience of their spatial liminality. In her essay about Fallen Angels, “We Can’t Go On Not Meeting Like This: Fallen Angels and Wong’s Intertextuality,” Martha P.

1997, 409) A point of agreement among these publications was Wong’s outlier status: popular outside of Hong Kong, and not so Transnational Wong 29 popular, though known and respected, inside of Hong Kong. His films’ ties to the martial arts and gangster genres were more tenuous than those of Jackie Chan and John Woo, and his sense of melodrama appeared less commercial, in the domestic market, than Stanley Kwan’s and Ann Hui’s. In the heyday of Hong Kong cinema’s exposure to Western markets in the late 1980s and 1990s, and as English-language publications simultaneously informed and entertained a growing Western audience for East Asian films, Wong could not be ignored, but he was frequently marginalized.

Very frequently this in is coded, in one way or another, as environmental, a spatial-temporal context beyond the characters’ control. Unable to transcend time and space, the characters can only find genuine escape in their own subjectivities: dreams, sensations, distorted memories. Wong Kar-wai characters are happiest when they are asleep – and they often are. In a state of sleep they can even escape their own conscious urge to fantasize: they are free of the limited, and limiting, imaginings of Hong Kong, China, East Asia, the world.

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