Download A Companion to Wong Kar-wai by Martha P. Nochimson PDF

By Martha P. Nochimson

With 25 essays that embody a large spectrum of subject matters 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 unique exam of the celebrated filmmaker identified world wide for the innovation, attractiveness, and keenness he brings to filmmaking.

  • Brings jointly the main leading edge, in-depth, and fascinating scholarship on arguably the best residing Asian filmmaker, from a multinational workforce of validated and emerging movie students and critics
  • Covers an enormous breadth of themes equivalent to the culture of the jianghu in Wong's motion pictures; queering Wong's movies now not by way of gender yet in the course of the artist's liminality; the phenomenological Wong; Wong's intertextuality; the United States via Wong's eyes; the optics of intensities, thresholds, and transfers of power in Wong's cinema; and the diasporic presence of a few women from Shanghai in Wong's Hong Kong
  • Examines the political, ancient, and sociological impression of Wong and his paintings, and discusses his paintings from a number of views together with sleek, post-modern, postcolonial, and queer theory
  • Includes appendices which research Wong’s paintings in Hong Kong tv and commercials

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Additional info for A Companion to Wong Kar-wai

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In his book on the film, Sean Redmond considers Chungking a “radical film” that is “saying something profound about the human condition in a postmodern Hong Kong desperate for definition” (2008, 32). K. Cheung, in an essay on voiceovers in Wong’s films, sees “estrangement in the urban context” as Wong’s exploratory subject. The voiceover in Chungking Express, to Cheung, is like “a voice speaking after the trauma in the moment of retelling” (2011, 17, 23). Characters in Wong’s cities are not merely alienated, but traumatized by their urban environment.

Some theoreticians who study liminality conceive of it as pathological and deviant, an unwholesome blurring of the clear lines of truth. Some explore it as a necessary temporary deviation from cultural control. Then there are those studies that define liminality not as a deviation of any kind, but as a state of being inherent in the human condition, a truth that is disguised by imposed social order, a permanent state of indeterminacy which makes creativity possible. Wong tends toward a portrayal of liminality as an inherent aspect of human life.

Tracing Wong’s films back to their apparent geographical, cultural, and political source, current studies have contributed to a more detailed understanding of Hong Kong’s historical relation to China, East Asia, and the West, while downplaying elements that may have contributed to the circulation of Wong’s films outside of China. The industry in which Wong operates is clearly not limited, geographically, to Hong Kong. Only a portion of the funding for his films has derived from Hong Kong (or China), and he has featured foreign locales and international casting since the beginning of his career as a director.

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