By Martha P. Nochimson
With 25 essays that include a large spectrum of subject matters 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 unique exam of the distinguished filmmaker recognized worldwide for the innovation, good looks, and keenness he brings to filmmaking.
- Brings jointly the main innovative, in-depth, and fascinating scholarship on arguably the best residing Asian filmmaker, from a multinational crew of demonstrated and emerging movie students and critics
- Covers an incredible breadth of issues corresponding to the culture of the jianghu in Wong's movies; queering Wong's movies now not when it comes to gender yet throughout the artist's liminality; the phenomenological Wong; Wong's intertextuality; the United States via Wong's eyes; the optics of intensities, thresholds, and transfers of power in Wong's cinema; and the diasporic presence of a few girls from Shanghai in Wong's Hong Kong
- Examines the political, ancient, and sociological impact of Wong and his paintings, and discusses his paintings from various views together with glossy, post-modern, postcolonial, and queer theory
- Includes appendices which research Wong’s paintings in Hong Kong tv and commercials
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Extra resources for A Companion to Wong Kar-wai
Tracing Wong’s films back to their apparent geographical, cultural, and political source, current studies have contributed to a more detailed understanding of Hong Kong’s historical relation to China, East Asia, and the West, while downplaying elements that may have contributed to the circulation of Wong’s films outside of China. The industry in which Wong operates is clearly not limited, geographically, to Hong Kong. Only a portion of the funding for his films has derived from Hong Kong (or China), and he has featured foreign locales and international casting since the beginning of his career as a director.
References Bakhtin, Mikhail (2009) Rabelais and his World, translated by Helene Iswolsky. Bloomington: Indiana University Press. Horvath, Agnes (2013) Modernism and Charisma. New York: Palgrave Macmillan. Jung, Carl Gustav (1912) Psychology of the Unconscious. New York: Dover Publications. Sedgwick, Eve Kosofsky (2003) Touching Feeling. Durham, NC and London: Duke University Press. Sedgwick, Eve Kosofsky, and Adam Frank (eds) (1995) Shame and its Sisters, a Silvan Tomkins Reader. Durham, NC and London: Duke University Press.
Even Higson, one of the earliest proponents of the model, had to clarify in an updated version of his essay that with so many cinemas nationalized on the level of state policy, and with cinema playing such a key role in stimulating touristic activity to particular nations, it would be “foolish…to attempt to do away 28 Ken Provencher altogether with the concept of national cinema” (2006, 20). The apparent danger of the transnational concept is its indeterminacy. Analysis of a transnational phenomenon requires, to some degree, a denial of the determinism of a nationally coded context: production sites, aesthetic traditions, government support, critical and popular reception.