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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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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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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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Wong, Yat-kwong, i 黃日光. "Postmodernity in Wong Kar Wai's films: a postmodern and postcolonial discourse in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31951120.
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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., i 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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Horne, John Richard. "THE EFFECT ON CORPORATE PERFORMANCE OF FIRMS THAT WON THE MALCOLM BALDRIGE NATIONAL QUALITY AWARD". NSUWorks, 2009. http://nsuworks.nova.edu/hsbe_etd/44.
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This study examined the business results of companies that won the Malcolm Baldrige National Quality Award (NQA). It used performance data before and after the award to determine if there were significant differences in three key performance indices after
adoption of those business techniques that enabled these companies to win their NQA.
The three key indicators were return on assets (ROA), earnings per share (EPS) and the current ratio. The study examined the data in two ways; first tests were made by comparing company performance before and after winning an NQA. The second way of
testing was by comparing the NQA-winning company's performance with its key competitors within their market segment.
Using both parametric and nonparametric hypothesis testing techniques, the preponderance of evidence suggests there was no significant difference in performance after winning the NQA than before, using the three performance indicators used in this
study. Likewise, there was no evidence to suggest that the NQA-winning firms outperformed their key competitors within their market segment, for the three performance indicators used.
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Arbañil, Marquez Anggela del Carmen, i Aguayo Daniela Andrea Rodríguez. "Representación del camp talk en el doblaje al español latinoamericano de dos películas LGTB+ de los años 90: The Birdcage y To Wong Foo, Thanks for Everything! Julie Newmar". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657101.
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El camp talk es una forma de expresión construida mediante el habla que forma parte de la representación de la identidad de la comunidad LGTB+. Esta forma de expresión se ha visto representada en diversas producciones tanto cinematográficas como en novelas u obras de teatro, por lo que se han traducido del inglés a otros idiomas. Si bien existen investigaciones sobre la traducción del camp talk, estos estudios son limitados, sobre todo en el contexto de los años 90. En esta década, recién se construían equivalentes en español para el vocabulario utilizado por la comunidad LGTB+ a través de las primeras traducciones de productos de consumo masivo como películas o series. Se considera la traducción del camp talk como un problema ya que, para mantener la identidad de la comunidad en cuestión, el texto meta debe cumplir con la función comunicativa del texto fuente y considerar los equivalentes del vocabulario empleado por la comunidad LGTB+. Por esta ra, la presente investigación se centra en dos películas LGTB+ de los años 90, The Birdcage y To Wong Foo, Thanks for Everything! Julie Newmar, con la finalidad de analizar la función del camp talk y las técnicas utilizadas para su traducción. Para obtener los resultados, se utilizarán dos técnicas: el análisis de contenido para analizar las funciones del camp talk en la versión original en inglés, y el análisis textual contrastivo para analizar la traducción al español latinoamericano del camp talk e identificar las técnicas de traducción utilizadas.Camp talk is a form of expression constructed through speech, and this represents the identity of a community, as is the case of the identity of the LGTB+ community. This form of expression has been represented in several film productions, as well as in novels and theatre plays, and has been translated from English into other languages. Although there is research about camp talk translation, these studies are limited, especially those in the 90s. At that decade, spanish equivalents for the vocabulary used by the LGTB+ community were just being constructed through the first translations of mass consumer products such as movies or series. The translation of camp talk is considered a problem since, in order to maintain the identity of the LGTB+ community, the target text must fulfill the communicative function of the source text and consider the equivalents of the vocabulary used by the LGTB+ community. Therefore, the present research focuses on two LGTB+ films from the 90s, The Birdcage and To Wong Foo, Thanks for Everything! Julie Newmar, to analyze the function of camp talk and the techniques used for its translation. To obtain the results, two techniques will be used: content analysis, to analyze the functions of camp talk in the original English version and contrastive textual analysis to analyze the Latin American Spanish translation of camp talk and to identify the translation techniques used.
Trabajo de investigación
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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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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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Ng, Hoi-shan Crystal, i 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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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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Hsiang-YinChen i 陳香吟. ""Daily ballet" in Wong Kar-Wai's Film Texts". Thesis, 2017. http://ndltd.ncl.edu.tw/handle/7bdvr2.
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碩士國立成功大學
藝術研究所
105
The thesis aims to analyze Wong Kar-wai's ten features, As Tear Goes By, Days of Being Wild, Chungqing Express, Fallen Angels, Happy Together, In the Mood for Love, 2046, My Blueberry Nights, Ashes of Time Redux, The Grandmasters. Through the narrative structure of Critique Theory of Daily Life, it analyzes the collective and personal memories behind the film scenes. And the inseparable to distinguish memory and space, time and element of daily lives. Especially they are being seen as the key elements of his works. Therefore, this thesis mainly describe how Wong Kar-wai uses civil culture in Hong Kong as scenes setting, historical archive files, cultural memory, the complex transfer of the sovereignty of hong kong in 1997, spaces, memories and element .
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LIN, LI YI, i 李依霖. "A Submissive Subjectivity?:The Construction of Female Images in Wong Kar-Wai’s Film". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/5wum4g.
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碩士輔仁大學
大眾傳播學研究所碩士班
104
As a world renowned film director, Wong has been acclaimed as an auteur who demonstrated unique aesthetic practice in filmmaking. This study will delve into most of Wong’s works, in order to find out how those female characters in the films positioned as opposed to their male counterparts; in the historical development in his filmmaking, and also in all of his works holistically. Previous literatures showed Wong’s post-modernistic style in filmmaking reveals a female image conformed in the traditional values on the one hand, and revolts to it on the other. While on the whole, the female character in the films developed itself from a traditional one towards a modern one in the course of Wong’s works, however, the study will argue they all possess the definite power to the male character’s destiny. Therefore, the inquiries of the study will be 1. How the films’ “objectified” the female characters, and in the same time could be articulated in challenging the “subjectified” male characters. 2. By analyzing Wong’s works, the study will try to conclude in suggesting the female image constructed through his filmmaking. There are nine films will be examined in this study, which comprise As Tears Go By, Days of Being Wild, In the Mood of Love, Chungking Express, Fallen Angels, Ashes of Time, and The Grandmaster. As film critics has pointed out, some of the female characters in Wong’s works, appeared to be related in term of characterization. As a result, the study will look into these films divided into 4 groups according to their generic traits, namely angry-young men, nostalgia of the 1960s, asphalt jungle and sword-fighting. Accordingly, the study will employ research methods concerning both textual and narrative analysis. While a diachronic study will be emphasized, a synchronic approach will also be considered; hopefully, a cross-examined process will reify a comprehensive female image in the film.
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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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Wong, Sneddon Grace. "Who are we—Suzie Wong? Chinese Canadian women’s search for identity". Thesis, 2015. http://hdl.handle.net/1828/6449.
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The children born into the Canadian-Chinese community following the repeal of the Canadian Chinese Immigration Act (1923) were the first Chinese-Canadians to be born with full citizenship rights. After decades of isolation and segregation, the 1946 Canadian Citizenship Act transformed the limited citizenship of Chinese immigrants to full citizenship. Whether the parents of these children were Canadian or had just arrived, they could offer their children little guidance as Canadian citizens. The participants in the study are Canadian-born women, descendants from the four counties of Sun Wui, Hoi Ping, Toi San, and Yin Ping of the Pearl Delta District of Guangdong, China. Their region, dialect, class, gender, age, and ethnicity unite them. There were few Canadian-born Chinese from the time of the repeal until 1967 when Canada changed its immigration policy to a more equitable point system not based on race.
This is an interdisciplinary study incorporating an anthropological interviewing methodology, an examination of Chinese-Canadian history and of Asian women in Hollywood films, and how these portrayals have impacted the contemporary societal perceptions of Chinese women. I have discussed Asian psychology, feminist, cultural, and film studies and how they relate to identity development. I examined the markers used by the participants to fashion their identity, looking at the themes of beauty, behaviour, language, culture, values, and expectations. I used oral history and narrative methodology through in-depth interviews to examine how the historical, economic, political, and socio-cultural contexts have influenced this generation of Canadian-born women of Chinese descent as they developed their identity in Canada.Graduate
0377
0326
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gwongsne@uvic.ca
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Jhong, Ting-Yi, i 鍾庭宜. "Visual and Gender Excesses in Wong Kar-wai’s Fallen Angels: A Critical Analysis with Feminist Film Theories". Thesis, 2018. http://ndltd.ncl.edu.tw/handle/pf3r2s.
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碩士國立陽明大學
視覺文化研究所
106
The academic research of Fallen Angels and gender study in the field of Wong Kai-wai’s films are deficient. However, the gender images in Fallen Angels are still extraordinary and subvert. In this study, I will investigate the gender images and spectatorship in Fallen Angels in terms of feminist film theories. Also, this research will demonstrate how this film presents gender images through the narrative context, film editing and movement of camera. This thesis will be divided into three chapters. In chapter one, I will examine the three female characters in Fallen Angels, and demonstrate how they express their subjectivity and subvert the stereotypical images of woman in the patriarchal society. In chapter two, I will argue that the use of 6.8 mm super-wide angle lens transforms the spectacle of woman to a distorted and alienation face. Therefore, male spectators cannot desire the images of woman directly. I will also discuss the costumes of female characters. The strange costumes cause different perceptions to both male and female spectators. This also demonstrates the heterogeneity and agency in them. In chapter three, I will explain the androgynous of male characters in Fallen Angels, and suggest that the gender trait can subvert the patriarchal cultural reception of masculinity and offer female spectators visual pleasure. In this research mix through the investigation of gender images and audience spectatorship, I want to emphasize the agency of spectators and provide alternative interpretation. I hope this thesis can complement the gender study in Wong Kar-wai’s films and reevaluate Fallen Angels.