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Ševčík, Julius. "Wong Kar-Wai - Celovečerní filmy." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2007. http://www.nusl.cz/ntk/nusl-78769.
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Wong Kar-Wai one of today´s most highly acclaimed directors. In the first chapter of the thesis I analyze each of Wong´s formal techniques individually. These techniques involve "mysterization" of reality, specific screen-writing technique, fragmental story-telling, montage, inner monologues and the visual world Wong together with his long term collaborators DoP Christopher Doyle and set designer and editor William Chang create. In the second chapter I analyze each of Wong´s films individually. These films include As tears go by, Days of being wild, Ashes of time, Chungking express, Fallen Angels, Happy together, In the mood for love and 2046. With each film I describe the genesis of the project, its narrative content and most of all it´s formal specifics and style. I also follow the genesis of the techniques Wong uses to tell his theme of love, time and loss which is the key theme of his entire filming carrier.
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Protsenko, Viktoriia. "The Emotional cinema of Wong Kar-wai." Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/667114.
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This thesis seeks to explain the affective appeal of Wong Kar-wai’s oeuvre in terms of emotional marketing. Although his working method and storytelling principles are most atypical of Hong Kong film industry, the director has actively exploited local strategies of genre, stardom, and hybridization throughout his career. Contrary to his well-crafted image of improvisational artist, recurrent stylistic tropes and narrative strategies in Wong’s films evidence a conscientious organization. . I argue that Wong Kar-wai deliberately caters to the tastes of a transcultural, multilingual and cinema-savvy spectatorship, and that his films encourage affective investment and repeated viewings.La presente tesis busca explicar el atractivo emocional de la obra de Wong Kar-wai. Aunque su forma de trabajar y estrategia de narración son muy atípicas en la industria cinematográfica de Hong Kong, el director ha recurrido con frecuencia a las convenciones del género, star system e hibridismo del cine hongkonés. Los elementos estilísticos y estrategias narrativas de sus películas contradicen la imagen del artista improvisador, difundida por el propio Wong, y en cambio afirman una minuciosa organización del relato. Sostengo que Wong Kar-wai busca satisfacer los gustos de un público cosmopolita, multilingüe e ilustrado, fomenta un compromiso emocional y hace que los espectadores quieran volver a ver sus películas.
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Tsui, Kin-chung, and 徐建忠. "Wong Kar-wai: the filmmaker of solitude." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953748.
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Tsui, Kin-chung. "Wong Kar-wai : the filmmaker of solitude /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262257.
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Pun, Betty Oi-Kei School of Modern Language Studies UNSW. "Intersemiosis in film: a metafunctional and multimodal exploration of colour and sound in the films of Wong Kar-Wai." Awarded by:University of New South Wales. School of Modern Language Studies, 2005. http://handle.unsw.edu.au/1959.4/22922.
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This study explores two stylistic features in the films of contemporary Hong Kong film-maker Wong Kar-Wai: colour and sound. In particular, it focuses on how transitions in colour palettes (e.g. from a natural colour spectrum to a monochromatic effect of black-and-white) and specific sound resources (such as silence) function as important semiotic resources in the films, even when they appear to create a disjunctive effect. The study draws on two perspectives on communication to explore film. The first is the metafunctional hypothesis of Systemic-Functional Linguistics, which theorises that the communicative dimensions of texts can be explored from three simultaneous ???macro-functions???: the ideational, the interpersonal and the textual metafunction. The second is multimodal communication, which stresses that multiple semiotic resources are used for meaning-making purposes and that meanings created multimodally are multiplicative in essence. From this theoretical basis the study aims to illuminate two inter-related objectives. First, that the meaning potentials of colour transition and sound are construed and enabled by the co-ordinations of meanings across different co-present semiotic resources ??? known as intersemiosis in the study. Second, that the semiotic capacities of the two resources can be usefully explored from a functional perspective. Drawing especially the notions of intersemiosis and resemiotisation the study shows that colour transition and sound are multivalent resources in Wong???s films. In other words, their meaning potentials are metafunctionally complex and are never static. The thesis argues that colour transition and sound should not be seen as having ???a??? meaning, but rather, that it is the semiotic complexities among the co-patterned resources that shape the meaning-making potential of the resources, and in turn, help contribute meaning potentials to the films.
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Song, Jingjing. "Modernist aesthetics in the films of Wong Kar-wai." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/110.
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Wong Kar-wai is a premier avant-garde auteur of Hong Kong cinema. In the existing research, postmodernism is considered as a predominant approach to shed light on Wong’s aesthetics, poetics and politics. Being the iconoclastic ‘poet of time,’ Wong Kar-wai is extolled as a leading figure for his postmodernist style of visually unique and emotional resonant film works. Recurring motifs, such as alienation and rejection, time and memory, pursuit and loss, are regarded as representations of cultural and political anxieties of Hong Kong people in the context of 1980s and 1990s. Wong’s characteristic exoticism and cosmopolitism in his films also distinguishes him from other Chinese-language directors. However, when we expand the scope of the postmodern terrain, we find modernism and its attendant aesthetics are just as relevant and important as postmodernism to the understanding of Wong’s oeuvre. This thesis evokes a comparative perspective of modernism proposed by Eugene Lunn as an aesthetic approach, with an illustrative analysis by using David Bordwell’s and Kristin Thompson’s work on non-Hollywood cinema. This approach emphasizes four major directions of the social and cultural aspects influenced by modernism in art. Using this approach requires researchers to find cinematic representations of modernism in terms of aesthetic self-consciousness, juxtaposition of time, ambiguity and dehumanization within the film. This research takes Wong Kar-wai’sAshes of Time Redux (2008) as a case study to explore the alternative interpretations beyond postmodernism. The investigation of Wong’s uses of modernist approach involves the analysis of his experiments of conventional film techniques and strategic employment of the mise-en-scene, camera angles, lenses, lighting, and music, which constitute his pictorial world. My assertion is that Wong’s juxtaposition of time and space createsan elusive and ambiguous fictional world in response to his reflection on the dehumanization of an integral individual subject in the modernized world.
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Bettinson, Gary. "The cinema of Wong Kar-wai : style, form and narrative meaning." Thesis, University of Kent, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443782.
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Lin, Hoi-to Maurice. "Time, space and femininity in Wong Kar-wai's films." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262233.
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Tang, Yui-che Gigi. "The representation of memory in Wong Kar Wai's movies." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262580.
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Sann, Vanna. "Authorship in transnational cinema Pedro Almodovar, Wong Kar-wai, and the Star-Auteur /." CONNECT TO ELECTRONIC THESIS, 2007. http://dspace.wrlc.org/handle/1961/4270.
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Gama, Veridiana Fernandes Nogueira da. "Manuel Puig e Wong Kar-Wai:: os imbricamentos do kitsch e da memória." Universidade Federal de Minas Gerais, 2006. http://hdl.handle.net/1843/ALDR-6WENVQ.
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Um estudo comparativo entre literatura e cinema a partir de dois objetos culturais que, inseridos no contexto da alteridade, permite-nos visualizar certas características do Kitsch, campo e memória - e a relação de complementariedade com o esquecimento. Observar a relação metonímica de elementos culturais tomados de empréstimo por Wong Kar-Wai da literatura de Manuel Puig. Perceber a importância da memória na dimensão de ambas as obras e em contexto mais amplo, como arquivo cultural.
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Wong, Yat-kwong. "Postmodernity in Wong Kar Wai's films : a postmodern and postcolonial discourse in Hong Kong /." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B17983435.
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Li, Nga-sze Sabrina. "Postmodernism and globalization in Wong Kar Wai's films." Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B42576349.
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Heinz, Renata. "Atmosfera em Amor à flor da pele de Wong Kar Wai: o filme como experiência." Universidade do Vale do Rio dos Sinos, 2013. http://www.repositorio.jesuita.org.br/handle/UNISINOS/4353.
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A pesquisa abrange a atmosfera fílmica enquanto construtora de ambientes, personagens e relações entre os elementos fílmicos de Amor à Flor da Pele (2000), de Wong Kar Wai. Propõe um olhar e sentir atento ao que pode acionar afecções e, dessa forma, disseca sua composição plástica e dramática, concreta e abstrata, articuladas a favor da alteração da sensibilidade e de um entendimento singular da narrativa. Sendo assim, ressalto que ao admitir a articulação das atmosferas plástica, dramática, concreta e abstrata na criação de personagens, estabelecimento de relações e composição de ambientes fílmicos, nos termos propostos, não pretendo decompor e dividir os elementos técnicos a elas relacionados na análise de Amor à Flor da Pele (2000), mas perceber como agem em cada um dos espaços/tempos do filme dentro do conceito de indivisibilidade da atmosfera de um filme. É a partir dessa fusão que, no todo e não somente em partes, a narrativa se transforma em experiência. Consequentemente, enquanto experiência, ainda é preciso considerar a relação desses elementos com o espectador. Nesta pesquisa, portanto, tomo como ponto de partida minhas próprias referências sobre essa vivência.
The research is about the film atmosphere as environment, characters and relations creator among the film elements of In the Mood for Love (2000) by Wong Kar Wai. It proposes and attentive look and feeling at what may start afections and, this way, dissects its plastic and dramatic, concrete and abstract composition articulated in favor of the alteration of the sensibility and of an unique understanding of the narrative. So, while admitting the articulation of the plastic, dramatic, concrete and abstract atmospheres in the characters creation, relations establishment and film environment composition on the proposed terms, I do not intend to decompose and devise the technical elements related to them in the analyses of In the Mood for Love (2000), but notice how they act in each one of the space/time of the film in the concept of invisibility of a film atmosphere. It is from this fusion that, in its whole and not only in parts, the narrative transforms itself in experience. Consequently, as experience, it is also necessary to consider the relation of these elements with the spectator. Therefore, in this research, I take as starting point my own references about this experience.
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Tsai, Wen-Sheng. "Le cinéphile à la découverte de sa nostalgie : une circumambulation sous le signe de Wong Kar Wai." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100055/document.
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Comment faire un travail scientifique si le chercheur est déjà trop obsédé par son objet d’étude et si, d’ailleurs, ce dernier n’est pas seulement un objet réifié mais doté d’une certaine réalité de l’âme ? La distance délicate entre le subjectif et l’objectif est ainsi l’enjeu principal de cette thèse, une recherche dont le chercheur est un cinéphage devenu cinéphile, qui est hanté par sa passion pour son objet bien vivant qu’est le cinéma de Wong Kar Wai mais qui a envie de vivre symboliquement cette passion. Il s’agit donc de l’équation personnelle d’après C. G. Jung et de cette distance ironique selon Antoine de Baecque. Vis-à-vis d’une telle difficulté méthodologique qui est en fait une occasion très généreuse, une approche empirique et une attitude religieuse se proposent. D’où le chercheur-cinéphile se lance dans un itinéraire homérique, à la recherche de son mythe du cinéma total qui n’est rien d’autre que son archétype du cinéma dont le symbole vivant se veut exactement Wong Kar Wai. Cette recherche devient, au fur et à mesure, une découverte, vu que la nostalgie n’est pas ailleurs, mais chez soi. Dans une telle circumambulation sous la forme d’une mise en abîme, le rapprochement entre une histoire du cinéma et une Histoire du cinéma n’est qu’inéluctable. Re-contextualisés sont les souvenirs personnels du chercheur du cinéaste hongkongais et plusieurs protagonistes rencontrés dans sa cinéphilie (Bresson, King Hu, Langlois, Bazin, Tarkovski, la bande de Truffaut, Dumont, etc.) sur la route et envisageable est une filiation toujours en devenir entre ce qui arrive avant et ce qui vient après. Que ces pages soient une scène de la création-critique et que la fonction cinéphile se manifeste à travers elleHow to conduct a scientific work if the researcher is himself already incurably obsessed by his study material? This question fits in quite well for the present case, since the PhD student is an inveterate lover of Wong Kar Wai’s cinema. In other words, the situation is that of a cinephage-turned-cinephile — extremely conditioned by a living work inescapably defined by an amorous aura — who is trying to find a way out, in a relatively rational way, that is to say, symbolically, to deal with this entanglement as mise en abyme. Two methodological as well as deontological perspectives are thus drawn on, “the personal equation” adapted by C. G. Jung and “the ironic distance” coined by Antoine de Baecque. Hopefully, the writing of this dissertation could be regarded as a circumambulation whose goal is nothing more than its very process which is a nostalgic yearning for the cinema archetype, or, in terms of André Bazin’s idea(l): the myth of total cinema
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Tse, Wing-hin, and 謝穎軒. "Deconstructing the auteur : a study of the process of value-formation in the cinema of Wong Kar-wai." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/206664.
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From a figure of controversy to an illustrious auteur with international renown and widespread critical acclaim, Wong Kar-wai remains unique in the history of Hong Kong cinema. While his films are often box-office failures and criticised for their artistic ostentations at home, Wong enjoys a celebrity status at international film festivals and his films remain a focus in academic studies worldwide. It is this disparity in the reception and value judgment of Wong as a filmmaker that this dissertation is interested in addressing. Thus the central thesis is to explore how critical discourse and institutions confer cultural prestige to his films that positively impact upon their reception and circulation.
Existing literature on Wong’s oeuvre focuses eclectically on his artistic merits while side-stepping the material politics behind the reception and circulation of his films, and this dissertation aims to rectify this tendency by foregrounding the site of cultural production where all these cultural debates occur. If aesthetic and critical values are socially constructed, they are also predicated on a complex and changing nexus of multiple social, cultural and institutional factors. Art and their producers do not exist independently of a complex institutional framework which authorises, enables and legitimises them. Thus this dissertation is concerned with exploring how these discursive and institutional frameworks influence what is said and can be said about his films.
Chapter 1 looks into how film festival emblematisesa dynamic system where a film accrues values as it circulates among mediators in their struggle for cultural legitimacy, thus exploring issues such as taste-construction and power relations among mediators. Through adopting a Bourdieuian paradigm, this chapter explores the significance of mediators in legitimising cultural values concerning the cinema of Wong Kar-wai in hope of broadening the analysis of festival films into the socio-economic and institutional conditions of their reception and circulation.
Chapter 2 explores how the image of the auteur impacts upon the reception and circulation of the cinema of Wong Kar-wai vis-à-vis Corrigan’s idea of the commerce of auteurism which recontextualises auteurism within an industrial and commercial framework and foregrounds the branding of the auteur-star as a commercial strategy. In particular, I examine how the interviews of Wong Kar-wai can be read as a paratextual site where different mediators contribute to the cultural ‘investment’ in the construction of the celebrity sign.
Chapter 3 marks a self-reflexive turn into exploring the nature of knowledge production in the formative process of canonisation. Through adopting Greg Urban’s notion of ‘metaculture’, I examine how knowledge production can function as a metacultural sphere that influences the circulation of cultural products such as films. An examination of canon formation not only reveals the values inherent in such assessments, but also foregrounds the cultural and institutional assumptions surrounding cinema’s shifting social and cultural significance.
This dissertation therefore aims to broaden the scope of filmic analysis from textual-oriented criticism to exploring the institutional and discursive frameworks that construct cinematic values, also illuminating how these value judgements inform the continuing and evolving canonisation of films.published_or_final_version
Comparative Literature
Master
Master of Philosophy
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林彥. "論王家衛電影的懷舊現象 = Nostalgia phenomenon in the films of Wong Kar-wai." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2146379.
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Chan, K. K. Kylie C. "Uncanny perceptions of urban space in painting and film : a comparison of the works of Edward Hopper and Wong Kar-wai." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38680063.
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Chan, K. K. Kylie C., and 陳琪琪. "Uncanny perceptions of urban space in painting and film: a comparison of the works of Edward Hopper and Wong Kar-wai." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B38680063.
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Bittinger, Anne-Cécile. "Failles d'historicité : Pour une approche sociocritique et sémiotique conjointe des cinémas chinois contemporains." Paris 8, 2009. http://www.theses.fr/2009PA083324.
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Le cinéma est un espace de sens paradoxal où affleurent sans cesse l’impensé et l’imaginaire complexe du temps, au travers de sinueuses torsions. Dès lors, le concept central d’historicité, que nous tentons de redéfinir dans une approche à la fois sémiotique et sociocritique, permet d’approfondir les divers modes de textualisation du social et de l’historique, au cœur du processus singulier des œuvres. Sous les failles temporelles, sources des décrochages textuels, se creusent des détournements esthétiques des temps, de la mémoire et de l’histoire, noués à des discordances dans l’historicité que chaque texte déploie activement. Les cinémas chinois (et plus généralement asiatiques) nous offrent un terrain privilégié pour cette étude. À partir de l’exemple de films mettant en scène la rétrocession de Hong Kong à la Chine, en 1997, les différentes reconfigurations du factuel au fictionnel nous amènent à dresser une typologie des possibles jonctions du texte et de l’histoire. Dans la visée explicite et directe du référent historicisé (The Longest Summer de Fruit Chan), le texte reprend l’histoire, et cette reprise engendre maintes recompositions esthétiques, du texte au hors-texte (et inversement). En revanche, l’absence de référence à l’histoire (Les Cendres du temps de Wong Kar-wai) semble fonder une anhistoricité constitutive de l’œuvre, mais cette visée vide, apparente, est susceptible d’orchestrer des feintes, où réapparaissent maintes traces d’historicité. Enfin, les visées distendues ou déroutées (2046 de Wong Kar-wai) s’appuient sur l’afflux et le reflux de l’histoire, font de l’indirect et de l’implicite le vecteur des réinscriptions troubles de l’historicitéCinema is a great revealer of tortuous lines of time, and especially of how a society constructs a complex image of time, memory and history. That is why the notion of historicity is essential for the examination of the way these interrelations appear in artistic creations. By combining sociocritic and semiotic analyses of contemporary Chinese motion pictures, it is possible to describe the relation between fictitious sequences of events and their paradoxical recompositions in filmic textuality. The relations between fiction and time, memory and history take three main forms. The movies which for instance represent the retrocession of the former British colony of Hong Kong to China in 1997 illustrate the various configurations of the treatment of history. Some movies (The Longest Summer of Fruit Chan) make use of historical references explicitly and directly, although the transfer from reality to fiction nevertheless generates variations and deviations in the system of signs. Other movies deliberately avoid straightforward historical accounts (Ashes of Time of Wong Kar-wai). This liberty creates a space for artistic creation in which temporal, memorial and historical elements regularly reappear at unexpected places. In the third type of treatment, references to history are blurred, imprecise but nevertheless present almost everywhere (2046 of Wong Kar-wai). They are particularly difficult to follow, not only because they disappear and reappear, but also because they do not consistently refer to the same period
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Promkhuntong, Wikanda. "The East Asian auteur phenomenon : context, discourse and agency surrounding the transnational reputations of Apichatpong Weerasethakul, Kim Ki-duk and Wong Kar-wai." Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/40b60cfb-5797-489d-896c-586c47a8afe1.
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This thesis explores the phenomenon through which numerous directors, from emerging and established film industries from East Asia, have been collectively recognised as auteurs in the West in the last two decades. The thesis proposes a multi-dimensional approach that investigates contexts, discourses, and agencies closely associated with three representative directors that shaped their auteur reputations, as revealed in different forms of archival materials which are treated as auteur paratexts. These paratexts are archival materials associated with the Rotterdam International Film Festival in relation to Apichatpong Weerasethakul, home video promotional materials in relation to Kim Ki-duk, and YouTube user-generated content in relation to Wong Kar-wai. Drawing on and expanding from the method of Foucauldian critical discourse analysis, the findings reveal persistent discourses on geo-politics in relation to national and regional cinema, and an expanded discourse on art cinema in relation to transnational multimedia art forms and diverse taste cultures. Further multi-modal textual analysis of sample materials, which take into account multiple individuals involved, illustrates how directors and associated agents negotiate discursive framings and assert their own pleasure and personal politics through language, voice and performance. Each case study also discusses wider networks of relationship, drawing on and expanding from Pierre Bourdieu's frameworks, which facilitate or undermine the process of auteur reputation-making associated with the three case study directors. In the context of the film festival, Apichatpong has been promoted as a modernist auteur as part of festival branding. Emerging through the commercial context of film distribution, Kim Ki-duk and associated distributors have drawn on and moved away from Kim's restricted cult reputation generated by influential distributors over time. The case study of Wong Kar-wai points to the importance of individual users on YouTube, who are not represented by film-related institutions but exhibit shared taste cultures through maintaining and expanding the director's reputation. As a whole, the thesis offers a multifaceted perspective on the East Asian auteur phenomenon and highlights collective cultures that sustain fascination with the auteur figure.
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Parks, Tyler Munroe. "Subtle way out : cinematic thought, belief in the world, and four contemporary filmmakers." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/15978.
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In Cinema 1: The Movement-Image and Cinema 2: The Time-Image, Gilles Deleuze distinguishes two regimes of audiovisual thought. In the regime of the movement-image, such thought is constituted by two processes. The first, differentiation/integration, expresses a whole that changes through the intermediary of the shifting relationships between the objects and people on screen. The second, specification, gives images a determinate function in a sensory-motor schema, through which perceptions are linked to actions in rational intervals of movement. With the regime of the time-image, as I understand it, thought instead comes to mean, as Deleuze puts it in Foucault, to experiment and problematize, and “knowledge, power, and the self are the triple root of a problematization of thought” (95). It is my argument in this thesis that Deleuze’s work on cinema is of great utility in carrying out filmic analyses that seek to detect and draw out the consequences of strategies of filmmaking that make knowledge, power, and self problematic. Furthermore, such a mode of analysis is particularly valuable in attending to new films that confront us with novel means of organising problematic audiovisual thought. My arguments are made through consideration of two films each from four directors: Wong Kar-wai, Nuri Bilge Ceylan, Pedro Costa, and Apichatpong Weerasethakul. While there are many important differences between the works of these filmmakers, their films nevertheless lend themselves to an approach that seeks to determine how thought becomes problematic in specific cases. Similarities and resonances are brought out between these films and those that Deleuze uses himself in making his arguments and shaping his concepts, but I also identify new problems that we encounter in the works of these filmmakers, which extend the range of meaning of some of those concepts. One such concept that is of particular importance in this thesis is “belief in the world”. There is always something in those films that pass into the regime of the time-image that is asystematic, which breaks up and multiplies thought, multiplies the thinkers we are made to inhabit. Our relation to the world of the film is therefore unstable and uncertain, and calls for belief, since films themselves in this regime produce new links between humans and the world, rather than firmly establishing a realistic state of things, a temporal and spatial matrix that accords with that which we experience in everyday existence. Such films thus make us receptive to a thought different from that interiorised thought through which, as Nietzsche writes, the apparatus of knowledge abstracts, simplifies, and takes possession of the world and others (Will, no. 503, 274).
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Ng, Hoi-shan Crystal, and 吳海珊. "Rewriting Louis Cha's classical characters in filmic representation inresponse to the political and cultural mutation of Hong Kong 90S -Wong Kar Wai and Tsui Hark." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31951697.
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Ng, Hoi-shan Crystal. "Rewriting Louis Cha's classical characters in filmic representation in response to the political and cultural mutation of Hong Kong 90S - Wong Kar Wai and Tsui Hark." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20272662.
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Baldwin, Jillian. "Room 2046: A Political Reading of Wong Kar-Wai's Chow-Mo Wan Trilogy through Narrative Elements and Mise-en-scene." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5482/.
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As ownership of Hong Kong changed hands from the United Kingdom to the People's Republic of China in 1997, citizens and filmmakers of the city became highly aware of the political environment. Film director Wong Kar-Wai creates visually stimulating films that express the anxieties and frustrations of the citizens of Hong Kong during this period. This study provides a political reading of Days of Being Wild (1991), In the Mood for Love (2000), and 2046 (2004) through analyzing various story elements and details within the mise-en-scene. Story elements include setting, dialogue, character relationships, character identities, thematic motifs, musical references, numerology, and genre manipulation. Wong also uses details within the films' mise-en-scene, such as props and color, to express political frustrations. To provide color interpretations, various traditional aesthetic guidelines, such as those prescribed by Taoism, Cantonese and Beijing opera, and feng shui, are used to read the films' negative comments on the handover process and the governments involved. When studied together the three films illustrate how Wong Kar-Wai creates narrative and visual references to the time and atmosphere in which he works, namely pre-and-post handover Hong Kong.
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Ramos-Taira, Amanda-Libertad. "Cuando el silencio habla. Laconismo, contención y amnesia en El caballo de Turín (2011) de Béla Tarr, In the mood for love (2000) de Wong Kar-Wai y la mujer sin cabeza (2008), de Lucrecia Martel." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4697.
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Este artículo busca analizar el poder expresivo del silencio, específicamente el verbal, y cómo éste es representado en el cine sonoro contemporáneo. Es importante investigar el silencio como herramienta expresiva en la cinematografía, ya que muestra el impacto de la comunicación no verbal, abre las puertas al entendimiento de las dimensiones más internas del ser humano y a los aspectos latentes de la existencia. Asimismo, otorga sentido a la historia e incrementa el poder de los elementos visuales. El silencio significativo merece ser estudiado por su riqueza en contenido comunicacional y se plasma de forma sobresaliente y original en las realizaciones de los directores que son materia de análisis para esta investigación: Béla Tarr, Wong Kar-Wai y Lucrecia Martel.Trabajo de investigación
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Jih-Woei, Huang, and 黃志偉. "Endless Play with Solitude: Characters in Wong Kar-wai''s Films." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/70915200630162644952.
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Poitras, Diane. "L'érosion de la nuit et le nocturne dans l'oeuvre de Wong Kar-Wai." Mémoire, 2007. http://www.archipel.uqam.ca/845/1/M9825.pdf.
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L'enjeu de ce mémoire consiste à tenter de saisir, à travers l'oeuvre cinématographique de Wong Kar-wai, quelques indications sur la nature de notre rapport à la nuit dans le monde contemporain alors que celui-ci semble déterminé à faire disparaître la noirceur. Les activités diurnes de nos sociétés post-industrielles empiètent en effet de plus en plus sur la nuit: les commerces et les services demeurent ouverts de plus en plus tard, voire toute la nuit, les communications, surtout depuis l'arrivée d'Internet, sillonnent le globe 24 heures sur 24, faisant fi des fuseaux horaires. Laissant à d'autres le soin de mesurer les retombées sociologiques de ce phénomène, nous nous sommes proposé d'en questionner les effets sur notre rapport à la nuit tel qu'on peut le percevoir à travers le cinéma. Pour ce faire, l'oeuvre du cinéaste chinois Wong Kar-wai nous est apparu riche de possibilités. Non seulement le nocturne y est-il prépondérant, mais cette filmographie se situe résolument dans la contemporanéité autant par son propos que par son traitement. Nous avons regroupé les problématiques étudiées sous trois grands chapitres: il s'agit du traitement de la nuit comme expression d'une crise sociale, du traitement de l'espace et de ce qu'il révèle des rapports à l'intériorité et à l'intimité et enfin du traitement du temps et de ses implications sur l'approche narrative et en rapport à la modernité. Ces trois points d'accès à l'oeuvre de Wong Kar-wai permettront d'y vérifier la présence d'un être nocturne identifié lors d'un colloque consacré à la nuit au Centre de Cerisy en 2004. On progressera dans l'analyse en nous référant régulièrement à l'expressionnisme allemand et le film noir américain qui représentent deux pôles de référence incontournables pour le traitement de la nuit dans l'histoire du cinéma. Nos références théoriques sont principalement Les structures anthropologiques de l'imaginaire, de Gilbert Durand et L'origine de l 'oeuvre d'art, de Martin Heidegger.
L'analyse nous amènera à constater, chez Wong Kar-wai, un glissement du Régime diurne au Régime nocturne de l'imaginaire et nous permettra de vérifier la pertinence de notre intuition initiale sur le caractère essentiel de la nuit dans notre relation au monde. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Cinéma, Film, Nuit, Nocturne, Wang Kar-wai.
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Wang, Yi-Hsuan, and 王一亘. "A Narrative Research on Wong Kar-wai''s 1960s Trilogy in Hong Kong." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/08010374537862270748.
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碩士國立中興大學
中國文學系所
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The thesis aims to analyze Wong Kar-wai''s 1960s trilogy in Ｈong Kong –Days of Being Wild, In the Mood for Love, 2046 – through narrative structure and from the perspective of shot composition. Standing out among a horde of new wave filmmakers, Wong Kar-wai, the young director whose unique postmodern shooting style and distinctive film editing technique had earned him numerous awards, was ultimately bestowed upon the repute of a famous Chinese director. Most of the researches on him revolved around the analysis of his postmodern style and at narrative level. The researcher found that Wong Kar-wai''s movies narrative structures distinguished themselves from the classic The Hero Journey narrative structure and can be viewed as a dialectical material for further reasoning with it. These three movies differed themselves from how most movies were accustomed to present the main characters; they took on a novel construction and recognition on it. Moreover, many designs for sounds and objects in the movies were intended for metaphors. The researcher, through narrative structure and from the perspective of shot composition, induced the hidden contexts in these movies.
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Moreira, Macedo de Carvalho Ludmila. "The ambivalent identity of Wong Kar-wai's cinema." Thèse, 2009. http://hdl.handle.net/1866/3244.
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Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar-wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation.
L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. L'objectif est d'analyser les différents composants de ses images pour découvrir comment ses films communiquent les uns avec les autres afin de créer une identité unique.
Pour atteindre cet objectif, je pose comme hypothèse de travail que le cinéma de Wong est marqué par une structure dualiste qui permet à ses films de présenter des qualités contradictoires simultanément. La plupart de mes arguments se concentrent sur le travail du philosophe français Gilles Deleuze, qui a proposé une théorie du cinéma divisé entre l’image-mouvement et l’image-temps. Je considère que sa théorie fournit un cadre valide sur lequel les films de Wong peuvent être projetés. Tandis que ma recherche se concentre sur l’interprétation textuelle des films, je profiterais également d’une analyse comparative.With nine feature films released between 1988 and 2007, as well as several advertising campaigns, music videos, short films and collective projects, Wong Kar-wai is one of the most important contemporary filmmakers currently working. Hailing from Hong Kong’s highly commercial film industry, Wong has managed to attract the attention of the international film festival circuit with his visual style and fragmented narrative. Considered by many critics as the poet of Hong Kong’s quest for identity post 1997, his cinema defies every attempt of standardization. The main goal of this study is to provide an attentive and comprehensive study of his body of work, concentrating on the stylistics traits that make his films part of a coherent unity. These characteristics correspond to a certain way of telling stories, of composing situations and characters, of manipulating time and the use of technical resources so that his films offer a coherent identity. The objective is to analyze the different components of his images, to show how his films communicate with each other in order to create something unique. To achieve this objective, I put forward the hypothesis that Wong’s cinema is marked by a dualistic structure that allows his films to present opposite qualities at the same time. Most of my arguments are based on the thoughts of French philosopher Gilles Deleuze, whose own dualistic theory of cinema presented in his books Cinema 1: the movement-image and Cinema 2: the time-image, provides a valid framework upon which Wong’s films can be projected. While the research concentrates on the textual analysis of films, I will also benefit from comparative analysis and additional disciplines.
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Sousa, Miriam de. "Escrita e imagem em In the mood for love." Master's thesis, 2014. http://hdl.handle.net/10451/18369.
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A partir da análise do filme In the Mood for Love (2000) de Wong Kar Wai, e em paralelo com a análise do romance Tête-Bêche (1997) de Liu Yinchang, esta dissertação procura reflectir as contaminações, transições e intersecções entre espaço da escrita e imagem no filme.
Adaptando o romance Diudao (1997) de Liu Yichang – Intersections na tradução inglesa, e Tête-Bêche na sua tradução francesa, versão que será objecto de análise nesta tese –, In The Mood for Love mobiliza múltiplas dinâmicas do desejo na imagem que se cristalizam na intersecção de diferentes espaços e tempos, problematizando várias componentes (formais e narrativas) do espaço do cinema.
Neste sentido, esta dissertação procura reflectir as contaminações e intersecções entre espaço da escrita e imagem, tendo em consideração a representação do desejo no filme, explorando, também, a forma como esta mediação entre escrita e imagem se reproduz nos corpos em movimento dos protagonistas do filme.
Enquadrada nos Estudos Fílmicos, fundamentada em conceitos como simulacro, fetichismo, nostalgia, imagem-tempo, esta tese divide-se em três focos de análise: Espaço da Escrita, Tempo e Espaço e, por fim, Corpo e Escrita.ABSTRACT: From the starting analysis of In the Mood for Love (2000) by Wong Kar Wai, along with the analisys of the novel Tête-Bêche (1997) by Liu Yinchang, this dissertation looks upon reflecting the exchanges, transitions and intersections between space of writing and image in the film. Adapting the novel Diudao (1997) by Liu Yichang – Intersections in its English translation, and Tête-Bêche in its French translation, version that will be subject of analysis in this thesis -, In the Mood for Love establishes multiple dynamics of desire in image that crystallize at the intersection between different spaces and times, questioning several components (both formal and narrative) of space and time in cinema. Therefore, this thesis aims at reflecting the intersections and exchanges between image and writing regarding the representation of desire in the film, along with an analysis of the means how writing and image mediation is reproduced on the protagonists moving bodies . With a conceptual framework in Film Studies, based in concepts as simulacra, fetichisme, nostalgia, image-time, this thesis divides into three points of analysis: Space of Writing, Time and Space, and finally, Body and Writing.