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Journal articles on the topic 'Kar-Wai'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Gleason, Timothy R., Qi Tang, and Jean Giovanetti. "Wong Kar-Wai." Journal of Asian Pacific Communication 12, no. 2 (December 31, 2002): 291–310. http://dx.doi.org/10.1075/japc.12.2.06gle.

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Wong Kar-Wai is the premier auteur of Hong Kong cinema. This article analyzes his 1994 film, Chungking Express, using the auteur as structure approach. This approach emphasizes the influence of the director on a film. It can only be applied to films that were mainly controlled by the director and not the studio or production company. Using this approach requires researchers to find the signature of the director within the film. This research introduces the work of an internationally-acclaimed film director to communication scholars, and it deciphers a film inherently complex to interpret. The authors analysis reveals Wong utilizes a French New Wave style to represent his view of a Hong Kong undergoing social and political transformations. Wongs style is similar to French directors such as Truffaut and Godard because of his spontaneity and use of movement within the movie image. Even though Wong is influenced by the French New Wave, his films are also influenced by their physical and social environments. This is especially true in Chungking Express, with its crime urban surroundings, and constant references to expiration dates, the latter referring to Hong Kongs hand-over to China.

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2

Paquette, Étienne, and Philippe Théophanidis. "Wong Kar-Wai ou l’esthétique-fiction." Cinémas: Revue d'études cinématographiques 15, no. 2-3 (2005): 63. http://dx.doi.org/10.7202/012320ar.

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3

Yue, Audrey. "Wong Kar-wai: Auteur of Time (review)." China Review International 13, no. 1 (2006): 261–64. http://dx.doi.org/10.1353/cri.2007.0055.

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4

Morales Mena, Javier. "2046, de Won Kar Wai: cine y literatura." Cuadernos Literarios 4, no. 7 (December 1, 2007): 199–201. http://dx.doi.org/10.35626/cl.7.2007.110.

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5

Sáez González, Jesús Miguel. "Ashes of time redux de Wong Kar Wai." Vivat Academia, no. 108 (September 15, 2009): 66. http://dx.doi.org/10.15178/va.2009.108.66-67.

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6

Mas López, Jordi. "Manuel Puig y lo latino en la producción de Wong Kar-wai." Anales de Literatura Hispanoamericana 47 (December 11, 2018): 261–81. http://dx.doi.org/10.5209/alhi.62739.

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El cineasta chino Wong Kar-wai ha reconocido la influencia de las novelas de Manuel Puig en la estructura de sus películas, y esta influencia ha sido comentada por diversos críticos. Sin embargo, se ha tendido a obviar el hecho de que el director también presentó Happy Together como “basada en” la novela The Buenos Aires Affair del mismo escritor. Nuestro artículo analiza la influencia de la narrativa de Manuel Puig en las producciones de Wong Kar-wai, haciendo especial hincapié en la que afecta al contenido de los filmes y explica, tal como argumentamos, la construcción de una determinada idea de lo latino, estereotipada pero al mismo tiempo bien definida, que el director contrapone a la de lo chino.

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7

Victoria, Protsenko. "From Arthouse to Amazon : The Evolution of Wong Kar-wai." Cine forum 30 (August 31, 2018): 123–56. http://dx.doi.org/10.19119/cf.2018.08.30.123.

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8

Rojas, Christopher. "Felizmente tú y contigo: a próposito de Happy Together y la soledad de a dos." Ventana Indiscreta, no. 024 (December 3, 2020): 63–70. http://dx.doi.org/10.26439/vent.indiscreta2020.n024.5003.

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En una película como Happy Together (1997) de Wong Kar-wai (Shanghái 1958), se confirma la exterioridad del mundo interior: el universo gay debe buscarse tanto en lo físico como en las sensibilidades de sus protagonistas y, en último término, en los no lugares copados de ella.

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9

Cassegard, Carl. "Ghosts, Angels and Repetition in the Films of Wong Kar-Wai." Film International 3, no. 4 (July 2005): 10–23. http://dx.doi.org/10.1386/fiin.3.4.10.

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10

Promkhuntong, Wikanda. "Wong Kar-wai: ‘cultural hybrid’, celebrity endorsement and star-auteur branding." Celebrity Studies 5, no. 3 (July 3, 2014): 348–53. http://dx.doi.org/10.1080/19392397.2014.935630.

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11

Yeh, Emilie Yueh-yu, and Lake Wang Hu. "Transcultural Sounds: Music, Identity, and the Cinema of Wong Kar-wai." Asian Cinema 19, no. 1 (March 1, 2008): 32–46. http://dx.doi.org/10.1386/ac.19.1.32_1.

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12

Tsui, Curtis K. "Subjective Culture and History: The Ethnographic Cinema of Wong Kar-wai." Asian Cinema 7, no. 2 (November 1, 1995): 93–124. http://dx.doi.org/10.1386/ac.7.2.93_1.

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13

Pernin, Judith. "Le Hong Kong de Wong Kar-wai : espace, nostalgie et sentimentalité." Critique 807 - 808, no. 8 (2014): 655. http://dx.doi.org/10.3917/criti.807.0655.

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14

Khoo, Olivia. "Wong Kawaii : Pop Culture China and the Films of Wong Kar-wai." Journal of Popular Culture 47, no. 4 (August 2014): 727–41. http://dx.doi.org/10.1111/jpcu.12158.

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15

Ribaric, Marcelo Eduardo. "Silêncio e Intertextualidade: O Discurso Poético na Publicidade Audiovisual de Wong Kar-wai." Comunicação & Sociedade 42, no. 2 (November 16, 2020): 247–81. http://dx.doi.org/10.15603/2175-7755/cs.v42n2p247-281.

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Este artigo analisa, pelas vias da análise do discurso da escola francesa, o filme de advertainment The Follow (A Perseguição), criado e dirigido pelo cineasta chinês Wong Kar Wai, visto aqui como criação artística, particularmente, como linguagem poética. Articulamos como hipótese primeira que a obra, ao propor um novo olhar sobre as estruturas narrativas recorrentes do cinema e da publicidade pode, a partir de implícitos e não ditos, evocar referências silenciosas que fazem parte do repertório cultural do espectador para dar sensibilidade à narrativa. O apoio teórico de Bakhtin e Kristeva torna possível pensar a prática da intertextualidade como construção artística da publicidade e com o pensamento de Sontag e Orlandi, abordamos a poética fílmica por meio dos silêncios, obrigatórios no ato criativo. Por fim este artigo não se conclui em sí e, como no ato poético, ele não termina, ela simplesmente acontece.

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16

Monsalve Flórez, Jhon Alexander. "Contrato e identidad de sujetos infieles en Deseando amar, de Wong Kar-Wai." Enunciación 24, no. 2 (December 20, 2019): 277–87. http://dx.doi.org/10.14483/22486798.14651.

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El presente artículo estudia, a partir de métodos y teorías de la semiótica, los contratos que los actores principales del filme Deseando amar, de Wong Kar-Wai, estipulan en pro de la identidad de sus cónyuges (personajes que mantienen entre sí una relación pasional clandestina). A partir del momento catastrófico, el objetivo de los acuerdos tiende a la comprensión del origen de la infidelidad; en otras palabras, los sujetos protagonistas emprenden un programa narrativo con un fin semiósico y, para ello, simulan ser y hacer como los sujetos infieles. El análisis figurativo, narrativo y axiológico, que surge del método de la Escuela Semiótica de París, da cuenta de cómo los objetivos de la relación contractual se logran más por sentir que por ser y hacer como los otros. De esta manera, se concluye, en primera instancia, que la interpretación identitaria del alter conlleva la comprensión identitaria del ego, y, en segundo lugar, que el ocultamiento de la infidelidad se configura como la salida a la sanción social negativa.

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17

Huppatz, D. J. "Fa yeung nin wa (In The Mood for Love), Wong Kar-Wai (2000)." Design and Culture 1, no. 2 (July 2009): 207–9. http://dx.doi.org/10.2752/175470709x12450568847695.

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18

Ekinci, Barış Tolga. "Wong Kar Wai Sinemasında Ticari Kaygılar ve Auteur Eleştirisi Bağlamında Büyük Usta Filminin Analizi." Kultur ve Iletisim - Culture &Communication, no. 38 (September 15, 2016): 144. http://dx.doi.org/10.18691/imge.20163822009.

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19

Gómez Tarín, Francisco Javier. "Sensations Films vs Action Films. The Eastern bet: Wong Kar-wai as a paradigm." Enrahonar. Quaderns de filosofia 50 (March 1, 2013): 31. http://dx.doi.org/10.5565/rev/enrahonar/v50.113.

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20

de Carvalho, Ludmila Moreira Macedo. "Memories of sound and light: musical discourse in the films of Wong Kar-wai." Journal of Chinese Cinemas 2, no. 3 (January 2008): 197–210. http://dx.doi.org/10.1386/jcc.2.3.197_1.

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21

Chew, Yi Wei. "Projections of Diasporic Sensibilities through Travel: Wong Kar Wai in/and My Blueberry Nights." Cinema Journal 54, no. 4 (2015): 50–73. http://dx.doi.org/10.1353/cj.2015.0049.

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22

Thanouli, Eleftheria. "The sensuous cinema of Wong Kar-wai: film poetics and the aesthetic of disturbance." New Review of Film and Television Studies 14, no. 2 (November 5, 2015): 276–80. http://dx.doi.org/10.1080/17400309.2015.1109199.

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23

Duque, Carlos Fernando Alvarado. "¿Puede el cine darnos qué pensar? Wong Kar-Wai y la poética del des-encuentro." Trans/Form/Ação 42, no. 3 (September 2019): 171–90. http://dx.doi.org/10.1590/0101-3173.2019.v42n3.10.p171.

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Resumen: ¿Puede el cine filosofar? ¿Puede la imagen en movimiento ser medio para que la filosofía opere en otra materia expresiva? Este artículo (derivado de la tesis doctoral en filosofía: Poéticas del cine: marcas de una filosofía en imágenes) tiene como interés auscultar la capacidad de ciertos cines (que tiene origen en el marco del cine moderno) de hacer filosofía al interior de la gran pantalla. Por eso, se exponen las líneas teóricas que permiten la defensa de un cine filosófico capaz de ofrecer conceptos a través de la dimensión expresiva propia de las imágenes en movimiento. Dicho proceso tiene lugar al interior del trabajo poético que el cine de autor ofrece y que, a razón de su distancia del tono general del cine clásico, supone una crítica a la metafísica en el territorio del séptimo arte. Se realiza el análisis de parte de la obra iniciática del director Wong Kar-Wai y su singular poética del des-encuentro (nominación que introducimos para caracterizar las marcas de autor del cineasta hongkonés). A razón de su trabajo al filo del cine moderno es posible evidenciar cómo el cine puede darnos qué pensar.

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24

Bettinson, Gary. "Reflections on a Screen Narcissist: Leslie Cheung's Star Persona in the Films of Wong Kar-wai." Asian Cinema 16, no. 1 (March 1, 2005): 220–38. http://dx.doi.org/10.1386/ac.16.1.220_1.

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25

CHO, Hongsun. "A Study on the Political Significance of Wong Kar Wai Film In the Mood for Love." Journal of Chinese Literature 83 (May 30, 2021): 77–99. http://dx.doi.org/10.31985/jcl.83.4.

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26

Coleman, Tara. "From Translating for the World to Translation as the World." Journal of World Literature 6, no. 3 (September 13, 2021): 314–30. http://dx.doi.org/10.1163/24056480-00603003.

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Abstract Grounded in the heterogenous linguistic and cultural landscape of Hong Kong, this article proposes a translational approach to the practice of world cinema, focusing on director Wong Kar-wai, via World Literature and the poetry of Leung Ping-kwan. Wong is a lyrical cinematic stylist, while Leung had a strong scholarly interest in cinema and produced many collaborations with visual artists. Both are highly attuned to the distinctiveness of daily life in Hong Kong despite its infusion of international influences. Moving beyond a model which sees translation as a secondary process carrying a work beyond its local context, I use Sakai Naoki’s concept of the “heterolingual address” to trace how translation becomes foundational to these artists’ engagement with the multilayered space and uneven temporality of Hong Kong.

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27

Santos, Gilbert De Oliveira. "ARTE MARCIAL, CINEMA E MORALIDADE: IMPULSOS DO CORPO E O CULTIVO DE SI." Movimento (Porto Alegre) 27 (September 18, 2021): e27051. http://dx.doi.org/10.22456/1982-8918.107568.

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Este ensaio filosófico visa apresentar uma perspectiva crítica da associação entre artes marciais, cinema e moralidade. Para isso, primeiramente será realizada uma interpretação do filme Cinzas do Passado, de Wong Kar Wai, buscando problematizar algumas relações a respeito do cinema e das artes marciais, sobretudo na dimensão moral menos heroica que este filme apresenta. Posteriormente, será feita uma discussão da moral e suas relações com os impulsos do corpo, buscando expor a importância do esclarecimento na estabilização dos instintos que caracterizam a condição mais arcaica do ser humano e que pode gerar ações moralmente inaceitáveis. Por fim, serão explicitados alguns elementos que podem contribuir para a formação de uma moral corajosa através do cultivo de si e da autocriação, direcionando e canalizando os impulsos agressivos e de autodefesa no contexto criativo de estudo e prática das artes marciais.

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28

Desser, David. "New York: Gateway to the East." Journal of Chinese Film Studies 1, no. 1 (March 12, 2021): 153–65. http://dx.doi.org/10.1515/jcfs-2021-0003.

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Abstract After a number of aborted attempts to secure distribution and exhibition in the West in the 1950s and 60s, producers of the Chinese cinema came to understand that film festival prizes, which had been the Japanese model, were not going to work for them. Instead, early attempts were made to break into the US market via an exhibition in New York. The commercial distribution of Hong Kong’s commercially-oriented martial arts movies in the 1970’s satisfied the long-standing desire of producer Run Run Shaw for success in the West, but hardly provided a similar opportunity for the more specialized auteur-cinema of the Mainland and Taiwan in the 1980s. Instead, the New York Film Festival emerged as the premier showcase for Fifth Generation Chinese filmmakers and the New Cinema of Taiwan, along with the Art cinema of Hong Kong’s Wong Kar-wai.

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29

Chow, Rey. "Sentimental Returns: On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong Kar-wai." New Literary History 33, no. 4 (2002): 639–54. http://dx.doi.org/10.1353/nlh.2002.0035.

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30

Coppola, Antoine. "Epistolary Enunciation in Contemporary Fiction Films in Asia: A Typological Essay." Área Abierta 19, no. 3 (November 4, 2019): 401–17. http://dx.doi.org/10.5209/arab.63968.

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In Asia, the socio-linguistic history has sometimes made blossom the epistolary enunciation on the screen and has sometimes made it whiter. Melodramas developed the oralised destiny-letters as hinges of dramatic narration. Even a cinema under communist regime like that of North Korea maintains this model but by diverting it to the profit of his supreme epistolarian and leader. Starting from the 1990s, filmmakers like Shunji Iwai and Jeong Jae-eun screen the letters by assigning them a veridiction power in conflict: social/persona. Wong Kar-wai extends the epistolary enunciation to the whole narrative structure of the voices over of his films as memory interiorities. Finally, the transition to digital and virtual communication spaces has led filmmakers like Hideo Nakata and Jia Zhangke to underline the hauntological distance, spectral in Derrida’s sense; distance linked to the power of invisible big communicators which become inevitable thirds at the heart of all exchanges.

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31

Heurtebise, Jean-Yves. "Quatre interprétations de la trilogie amoureuse de Wong Kar Wai (le cinéma Sinophone après 1980 ou l’invention de l’Image-émotion)." Monde chinois N°57, no. 1 (2019): 117. http://dx.doi.org/10.3917/mochi.057.0117.

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32

Fu, Poshek. "Hong Kong Cinema: Coloniser, Motherland and Self. By Yingchi Chu. [London and New York: RoutledgeCurzon, 2002. xxi+184 pp. £55.00. ISBN 0-7007-1746-3.]." China Quarterly 177 (March 2004): 241–43. http://dx.doi.org/10.1017/s0305741004370128.

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The recent success of Jackie Chan, Chow Yun-fat, Jet Li, Wong Kar-wai, and John Woo in reaching a global audience, along with the enormous changes in Hong Kong since the early 1990s, has attracted a lot of critical attention to Hong Kong cinema around the world. Beginning with Stephen Teo's Hong Kong Cinema (1997) and David Bordwell's Planet Hong Kong (2000), scholarship on the cinema of Hong Kong – whether from the perspective of cultural identity, global culture, film history, or film art – has greatly expanded. Australian scholar Yingchi Chu's book, Hong Kong Cinema: Coloniser, Motherland and Self, contributes to this growing trend.Hong Kong Cinema is a brief but ambitious book. In less than 150 pages, it tries to map out the entire history of the cinema, from the 1910s to developments after the 1997 takeover. The book draws on a provocative conceptual framework to provide a sweeping overview of Hong Kong cinema and offers some fascinating observations on the industry. However, the book needs further revisions to bring out its rich potential.

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33

Dumas, Raechel. "A Look at Hong Kong's New Wave Sentimentality: Rey Chow''s Reconceptualization of Nostalgia and the Allegorical Implications of the Image in Wong Kar-Wai''s ''In the Mood for Love''." International Journal of the Humanities: Annual Review 5, no. 4 (2007): 135–40. http://dx.doi.org/10.18848/1447-9508/cgp/v05i04/58182.

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34

"Wong Kar-Wai." Film Quarterly 59, no. 4 (2006): 70–71. http://dx.doi.org/10.1525/fq.2006.59.4.70.

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"Wong Kar-wai." Choice Reviews Online 43, no. 03 (November 1, 2005): 43–1458. http://dx.doi.org/10.5860/choice.43-1458.

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36

Toh, Hai Leong. "Wong Kar-wai: Time, Memory, Identity." Kinema: A Journal for Film and Audiovisual Media, April 10, 1995. http://dx.doi.org/10.15353/kinema.vi.781.

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IN HIS BRILLIANT TRIAD FILM DEBUT As Tears Go By, the Hong Kong's maverick filmmaker Wong Kar-wai(1) seeks to challenge popular audience expectations of the genre. A story about male bonding in which two friends are hired by the triads to carry out a murder, the film was selected by the informed programmer of the 13th Hong Kong International Film Festival (1989) to represent new Hong Kong films of the 1990s. The choice was prophetic in highlighting the thirty-one-year-old director as a new and exciting film talent. The following five years have seen Wong achieve an eclectic oeuvre of films which departs from the tidal wave of fast-paced Hong Kong films packed with sex and violence. In As Tears Go By, Wong Kar-wai takes the courageous position of showing more interest in the existential motivations and feelings of the film's two protagonists (Andy Lau and Jacky Cheung)...

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37

Muñoz Corcuera, Alfonso. "Identidades enredadas en el tejido del tiempo: La metáfora futurista de Wong Kar-Wai." Contrastes. Revista Internacional de Filosofía 18, no. 1 (May 16, 2012). http://dx.doi.org/10.24310/contrastescontrastes.v18i1.1120.

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RESUMENEl cine de Wong Kar-Wai es, principalmente, un cine sobre el tiempo. El director chino explora en sus películas la relación del sujeto con la temporalidad en la que se encuentra, mostrando el complejo entramado que une el pasado, el presente y el futuro en una tela que, al igual que la de Penélope, se teje tanto como se desteje. Quizá el mejor exponente de esta situación sea esa suerte de trilogía formada por Días salvajes (1990), Deseando amar (2000) y 2046 (2004), unida no por su argumento sino por la temática que abordan: el conflicto que viven unos personajes al encontrarse atrapados dentro de una temporalidad que sienten ajena o injusta.PALABRAS CLAVEWONG KAR-WAI, 2046, MEMORIA, IDENTIDADABSTRACTThe films by Wong Kar-Wai are primarily about time. This Chinese director explores in his films the subject’s relationship to the temporality in which he is, showing the complex network that links the past, the present and the future in a cloth which, like that of Penelope’s, is as much woven as unravelled. Perhaps the best example of this situation is that sort of trilogy formed by Days of Being Wild (1990), In the Mood for Love (2000) and 2046 (2004), linked not by their argument but because they address the same issue: the conflict that the characters live since they are trapped within a temporality that they feel alien or unfair.KEYWORDSWONG KAR-WAI, 2046, MEMORY, IDENTITY

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38

"Wong Kar-wai’s Technique of Communicating Emotions through Frames, Mise-en-scène and Soundtrack in In the Mood for Love." International Journal of Innovative Technology and Exploring Engineering 8, no. 11 (September 10, 2019): 2950–54. http://dx.doi.org/10.35940/ijitee.k2258.0981119.

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Motion pictures and the art of movie making started communicating with the audience and entertaining people decades before the first movie with dialogues came into existence. Pre-eminent directors and movie maestros reveled in the art of expressing emotions through their cinematic pieces without explicitly constructing them into dialogues. Wong Kar-wai, Chinese film director, is one such movie maker who gives his creations the wholeness and beauty of a painting. Through “In the Mood for Love”, “2046”, “Chungking express”, “Happy Together” etc. Wong Kar-wai, held art house audiences across the entire globe captive in his enigmatically beguiling form of art. His films are noted for its rhythmic unveiling of plot, photographic and semi-mask techniques and an intense personal flare. In the Mood for Love, often referred to as one of the greatest cinematic productions of the era, instantly earned the title of being a chef-d'œuvre with its unconventional take on a rather conventional story. The movie, starring Tony Leung Chiu-wai and Maggie Cheung Man-yuk, is deemed to be a classic for its unsurpassable cinematography, hauntingly messianic soundtrack and transfixing mise-en-scène which act as the major mediums through which the characters communicate their inner lives to the audience

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Toh, Hai Leong. "Two Asian Films." Kinema: A Journal for Film and Audiovisual Media, April 10, 1998. http://dx.doi.org/10.15353/kinema.vi.885.

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DESTINATION: 9th HEAVEN (Hong Kong-China, 1997). Dir: Wong Chun Man. Cast: Tony Leung Kar-fai, Pan Hong, Gigi Lai, Christine Ng, Sunny Chan, Lau Ying Hung.IRON SISTER (Taiwan-China, 1997). Dir: Yeh Hung-wai. Cast: Shu Qi. Destination: 9th Heaven stars Tony Leung Kar-fai (The Lover), Winston Chao (Eat Drink Man Woman) together with the Mainland Chinese veteran actress Pan Hong. Produced by the shrewd veteran actor-producer Raymond Wong, the film is a tale of love and business rivalry set in Hongkong and Tianjin (Tientsin). Iron Sister is adroitly directed by one of Taiwan's foremost New Wave filmmakers, Yeh Hung-wai who gained international prominence with a made in China film Five Girls And A Rope two years back. His latest work features the promising Taiwanese star Shu Qi (last seen in Derek Yee's satire Viva Erotica) who plays a tenacious huntress called Iron Sister Suen. The settings of both films present...

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40

Jacob, Elizabeth Motta. "DA SOLIDEZ DOS AFETOS INCONCLUSOS." Arte da Cena (Art on Stage) 4, no. 2 (December 31, 2018). http://dx.doi.org/10.5216/ac.v4i2.54418.

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Resumo: Este estudo apresenta nossas reflexões sobre a representação da cidade na obra cinematográfica de Wong Kar-Wai. Para nos aproximarmos das relevantes reflexões deste cineasta sobre a paisagem urbana e a inserção do homem em seu seio, achamos importante entender a própria noção de espaço no cinema e trabalhar com as imagens por este diretor criadas a partir de sua potência de gerar percepções sinestésicas e visualidades hápticas. O interesse deste estudo deixa recair seu foco no espaço diégético e nas instâncias narrativas que o funda, no espaço profílmico e extra fílmico e nos mecanismos próprios à linguagem cinematográfica que são capazes de produzir formas específicas de apreensão do espaço. Nos ateremos à criação de visualidades hápticas e de atmosferas fílmicas que serão relevantes para a construção da visualidade das cidades e seus imbricamentos com o destino dos personagens na obra de Wong Kar Wai a partir do ponto de vista da Direção de Arte. Of the solidity of the unfinished affections: the city of Wong Kar Wai Abstract: This study presents our reflections on the representation of the city in Wong Kar-Wai's cinematographic work. In order to approach the relevant reflections of this filmmaker on the urban landscape and the insertion of the man in his bosom, we find it important to understand the very notion of space in the cinema and to work with the images by this director created from his power to generate synesthetic perceptions and haptic visuals. The interest of this study leaves its focus on the diegetic space and the narrative instances that found it, in the profilmic and extra-filmic space and in the mechanisms proper to the cinematographic language that are capable of producing specific forms of space apprehension. Let us focus on the creation of haptic visuals and film atmospheres that will be relevant to the construction of the city's visuality and their entanglements with the fate of the characters in Wong Kar Wai's work from the point of view of the Art Direction. Keywords: Art Direction, Haptic Visual, city

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Müller, Adalberto. "Ambiências afetivas em Amor à Flor da Pele de W. Kar Wai." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, no. 65 (December 19, 2013). http://dx.doi.org/10.5007/2175-8026.2013n65p63.

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Vieira Jr., Erly. "Algumas considerações sobre cinema e tempo nas periferias do capitalismo flexível." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 19 (October 21, 2007). http://dx.doi.org/10.22409/c-legenda.v0i19.26030.

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Este artigo propõe algumas reflexões acerca das reconfigurações espaço-temporais operadas pelo cinemacontemporâneo, a partir das noções de “sociedade em rede” (Castells), “sociedade de controle” (Deleuze)e de concepções temporais da Antiguidade Clássica (cronos, aiôn, kairós), aplicando-as no contexto dasperiferias do “capitalismo flexível”, a partir das experiências urbanas em metrópoles fora do eixo EuropaAmérica do Norte, em especial nos filmes dos diretores Abbas Kiarostami (Irã), Hou Hsiao-Hsien(Taiwan) e Wong Kar-Wai (Hong Kong).

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Chong, Ethel. "Urban Alienation in Wong Kar Wai's Films." Kinema: A Journal for Film and Audiovisual Media, April 10, 2003. http://dx.doi.org/10.15353/kinema.vi.1047.

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IN THE MOOD FOR LOVE: URBAN ALIENATION IN WONG KAR WAI'S FILMS They say that love can change a man. I start to find myself looking better and more charming, and suddenly I discover that I'm turning blonde. (Qiwu in Fallen Angels) The four films which I am going to discuss are Days of Being Wild (1991), Chungking Express (1994), Fallen Angels (1995), and Happy Together (1997). These four films were directed by Hong Kong director, Wong Kar Wai, who wowed the critics at Cannes 2000 with In the Mood for Love (2000). Wong has been hailed as the definitive Hong Kong arthouse director. His postmodern themes and filming techniques focus mainly on the anxiety within modern urban living. His films do not provide an answer to the anxiety, nor tell the audience how to deal with the anxiety. In a nutshell, Wong's films are about our postmodern human...

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Toh, Hai Leong. "Bangkok 2001." Kinema: A Journal for Film and Audiovisual Media, April 10, 2002. http://dx.doi.org/10.15353/kinema.vi.1000.

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IN THE MOOD FOR FILMS: BANGKOK INTERNATIONAL FILM FESTIVAL 2001 The prospect of watching a good selection of indie films from more than 20 countries and the best of Thai shorts in competition should be attractive enough for most film buffs but the 4th Bangkok Film Festival (15th-25th November 2001) also promised the presence of the legendary director Wong Kar-wai and his star Leung Chiu-wai at the Gala opening film, In the Mood for Love (HK, 2000) in what is now one of Thailand's most important cultural events. Both honoured guests, however, failed to turn up to the disappointment of the eagerly-awaiting media and the many admirers at the grand opening. With hindsight, perhaps some other equally worthy film such as Kurosawa Kiyoshi's Pulse (Kairo, Japan, 2001) or Tsai Ming-liang's latest masterpiece, What Time Is It There? (Taiwan-France, 2001) should have taken pride of place instead, knowing the unpredictability...

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FRANCA DE MESQUITA, LUIZA. "A LINGUAGEM CINEMATOGRÁFICA DE WONG KAR-WAI: A ESTÉTICA COMO NARRATIVA NOS FILMES AMORES EXPRESSOS E ANJOS CAÍDOS." MIGUEL 4, no. 4 (June 8, 2021). http://dx.doi.org/10.17771/pucrio.miguel.53114.

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Martín Fernández, Diego. "El interés de la ortodoxia y la heterodoxia fotográfica en Deseando Amar (In the Mood for Love, Wong Kar-wai, 2000)." Communication Papers 9, no. 18 (July 26, 2020). http://dx.doi.org/10.33115/udg_bib/cp.v9i18.22444.

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