Bibliografías temáticas / Kar-Wai

Literatura académica sobre el tema "Kar-Wai"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 1 de febrero de 2022

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Artículos de revistas sobre el tema "Kar-Wai"

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Gleason, Timothy R., Qi Tang y Jean Giovanetti. "Wong Kar-Wai". Journal of Asian Pacific Communication 12, n.º 2 (31 de diciembre de 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. Wong’s 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 Kong’s hand-over to China.
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Paquette, Étienne y Philippe Théophanidis. "Wong Kar-Wai ou l’esthétique-fiction". Cinémas: Revue d'études cinématographiques 15, n.º 2-3 (2005): 63. http://dx.doi.org/10.7202/012320ar.

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Yue, Audrey. "Wong Kar-wai: Auteur of Time (review)". China Review International 13, n.º 1 (2006): 261–64. http://dx.doi.org/10.1353/cri.2007.0055.

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Morales Mena, Javier. "2046, de Won Kar Wai: cine y literatura". Cuadernos Literarios 4, n.º 7 (1 de diciembre de 2007): 199–201. http://dx.doi.org/10.35626/cl.7.2007.110.

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Sáez González, Jesús Miguel. "Ashes of time redux de Wong Kar Wai". Vivat Academia, n.º 108 (15 de septiembre de 2009): 66. http://dx.doi.org/10.15178/va.2009.108.66-67.

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Mas López, Jordi. "Manuel Puig y lo latino en la producción de Wong Kar-wai". Anales de Literatura Hispanoamericana 47 (11 de diciembre de 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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Victoria, Protsenko. "From Arthouse to Amazon : The Evolution of Wong Kar-wai". Cine forum 30 (31 de agosto de 2018): 123–56. http://dx.doi.org/10.19119/cf.2018.08.30.123.

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Rojas, Christopher. "Felizmente tú y contigo: a próposito de Happy Together y la soledad de a dos". Ventana Indiscreta, n.º 024 (3 de diciembre de 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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Cassegard, Carl. "Ghosts, Angels and Repetition in the Films of Wong Kar-Wai". Film International 3, n.º 4 (julio de 2005): 10–23. http://dx.doi.org/10.1386/fiin.3.4.10.

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Promkhuntong, Wikanda. "Wong Kar-wai: ‘cultural hybrid’, celebrity endorsement and star-auteur branding". Celebrity Studies 5, n.º 3 (3 de julio de 2014): 348–53. http://dx.doi.org/10.1080/19392397.2014.935630.

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Tesis sobre el tema "Kar-Wai"

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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 y 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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Libros sobre el tema "Kar-Wai"

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Wong Kar-wai. Milano: Il castoro, 2010.

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Wong Kar-Wai. London: BFI Pub., 2005.

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Brunette, Peter. Wong Kar-wai. Urbana, IL: University of Illinois Press, 2004.

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1958-, Wong Kar-wai, ed. Wong Kar-wai. Urbana: University of Illinois Press, 2005.

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Nochimson, Martha P., ed. A Companion to Wong Kar-wai. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.

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Luong, Mai. Visual study of Wong Kar Wai. London: LCP, 1999.

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Lee, Siu-Ming. An analysis of the work of Wong Kar-Wai. London: LCP, 2000.

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Lee, Siu-Ming. An analysis of the work of Wong Kar-Wai. London: LCP, 2000.

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Botz-Bornstein, Thorsten. Films and dreams: Tarkovsky, Bergman, Sokurov, Kubrick, and Wong Kar-wai. Lanham, MD: Rowman & Littlefield, 2007.

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The sensuous cinema of Wong Kar-Wai: Film poetics and the aesthetic of disturbance. Hong Kong: Hong Kong University Press, 2015.

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Capítulos de libros sobre el tema "Kar-Wai"

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McElhaney, Joe. "Wong Kar-wai: The Actor, Framed". En A Companion to Wong Kar-wai, 353–77. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.ch15.

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Abbas, Ackbar. "Wong Kar-wai's Cinema of Repetition". En A Companion to Wong Kar-wai, 113–34. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.ch4.

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Hok-Sze Leung, Helen. "New Queer Angles on Wong Kar-wai". En A Companion to Wong Kar-wai, 250–71. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.ch10.

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Yue, Audrey. "The Sinophone Cinema of Wong Kar-wai". En A Companion to Wong Kar-wai, 232–49. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.ch9.

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Reynaud, Bérénice. "Wong Kar-wai and his jiang hu". En A Companion to Wong Kar-wai, 80–111. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.ch3.

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Desser, David. "Chungking Express, Tarantino, and the Making of a Reputation". En A Companion to Wong Kar-wai, 319–44. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.ch13.

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Chen, Chih-ting. "Wong Works in Television". En A Companion to Wong Kar-wai, 562–68. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.app1.

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Nochimson, Martha P. "Wong Kar-wai: Invoking the Universal and the Local". En A Companion to Wong Kar-wai, 1–20. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.ch0.

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Bellour, Raymond y Allyn Hardyck. "Chungking Express: Slow - Images - Ahead". En A Companion to Wong Kar-wai, 345–52. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.ch14.

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Lee, Vivian P. Y. "Infidelity and the Obscure Object of History". En A Companion to Wong Kar-wai, 378–96. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118425589.ch16.

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