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Dissertations / Theses on the topic 'Wong, Kar-Wai'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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 Ang

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2

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-s

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3

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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4

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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5

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 th

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6

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 characteristi

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7

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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8

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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9

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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10

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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11

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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12

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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13

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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14

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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Submitted by William Justo Figueiro (williamjf) on 2015-07-08T22:39:06Z No. of bitstreams: 1 12b.pdf: 12032065 bytes, checksum: 207605edd9e17792308a80725a48bf17 (MD5)<br>Made available in DSpace on 2015-07-08T22:39:06Z (GMT). No. of bitstreams: 1 12b.pdf: 12032065 bytes, checksum: 207605edd9e17792308a80725a48bf17 (MD5) Previous issue date: 2013-03-27<br>Nenhuma<br>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 af

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15

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 ir

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16

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 i

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17

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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18

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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19

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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20

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 q

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21

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 understan

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22

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

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23

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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24

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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25

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 relati

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26

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

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27

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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28

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'

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29

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<br>國立中興大學<br>中國文學系所<br>105<br>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. Th

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30

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 caté

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31

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 vár

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