By Martha P. Nochimson
With 25 essays that include a large spectrum of themes and views together with intertextuality, transnationality, gender illustration, repetition, using tune, colour, and sound, depiction of time and house in human affairs, and Wong’s hugely unique portrayal of violence, A better half to Wong Kar-Wai is a novel exam of the distinguished filmmaker recognized all over the world for the innovation, attractiveness, and keenness he brings to filmmaking.
- Brings jointly the main leading edge, in-depth, and engaging scholarship on arguably the best dwelling Asian filmmaker, from a multinational staff of tested and emerging movie students and critics
- Covers a tremendous breadth of subject matters similar to the culture of the jianghu in Wong's movies; queering Wong's motion pictures no longer by way of gender yet during the artist's liminality; the phenomenological Wong; Wong's intertextuality; the USA via Wong's eyes; the optics of intensities, thresholds, and transfers of strength in Wong's cinema; and the diasporic presence of a few girls from Shanghai in Wong's Hong Kong
- Examines the political, old, and sociological impression of Wong and his paintings, and discusses his paintings from quite a few views together with smooth, post-modern, postcolonial, and queer theory
- Includes appendices which study Wong’s paintings in Hong Kong tv and commercials
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Additional resources for A Companion to Wong Kar-wai
Wong’s films seemed to fit neither the commercial system of the Hong Kong film industry nor the commercialization model of Hong Kong cinema in Western markets. Three academic studies of Hong Kong cinema appeared at the end of the 1990s to engage in more detailed textual analysis, and proved to set the tone of most subsequent studies of Wong’s work. These books appeared in tandem with the growing subfield of transnational cinema studies, and all present Wong as representative of a local cinema containing transnational elements.
Xu, aligning himself with Aihwa Ong, described Chinese cinema as “inherently heterogeneous, transnational, and political” (2007, 4, emphasis original). Opponents of the transnational cinema model found little that was new or illuminating in the approach, again using Chinese or East Asian cinema as their focal point. Detecting an unmerited challenge to their specialization, national and regional cinema scholars urged caution against using “transnational” too loosely and “national” too dismissively (see Taylor 2011; Morris 2004).
Wimal Dissanayake, in his volume on Ashes of Time (1994), writes of the “common practice” for Hong Kong producers to “pre-sell their products in Taiwan and Southeast Asian countries” before the films were made (2003, 18). Ashes of Time went even beyond that, according to Dissanayake, pre-selling in Japan and France as well when the film went over budget. Fundamentally, however, he argues that a study of Ashes of Time, and in fact the study of any Hong Kong film made between 1984 and 1997, could not afford to ignore the “social anxieties and the emotional qualities of this period” (8).
A Companion to Wong Kar-wai by Martha P. Nochimson