Mrs Chan In The Mood For Love

Hung conveys a lack of identity through her sad expression and highlights the conflict between individualism and tradition through the contrast in color. Growing up in an Asian family myself, I personally understand how one’s culture can be restricting. Asian culture in general can be quite strict and this portrait expresses an idea that I believe many young Asian-Americans can relate to. In most cases, Asian parents adhere to older traditions and enforce them on their children, ultimately limiting the extent of their individuality. For example, Asian culture promotes perfectionism in which we need to be the best in everything from academics to athletics. However perfectionism leaves no room for uniqueness and ultimately leaves an individual bland. Hung’s portrait captures this idea perfectly as her black and white profile resembles someone who was brought up to be “perfect” and thus lacks any kind of characteristics that would make her unique. As a result, she looks on to the possibilities of creativity and imagination, anything that would make her stand out. Consequently, she could have created this self-portrait to highlight her struggle against strict Chinese culture. Hung intended to show how she was held back from creative expression and thus conveys how she had no sense of identity. Essentially, creative expression is a crucial way in which someone can

We can observe the selection of blue color symbolizing melancholy in these scenes. Also, during the film, another color scene, this time yellow, can be seen, reflecting madness, insecurity, and obsessive by these scenes in the jury and streets. The catastrophic events, scenography and audio incremented the tension of every scene and complemented the facial expressions in the characters, creating a circle of the dramatic tension in the movie.

What is the ultimate form of a tragic love? For Wong, it is neither denial nor acceptance, but an eternal state of longing and waiting. Among Wong Kar Wei’s internationally acclaimed productions, Days of Being Wilde (1990), In the Mood for Love (2000), and 2046 (2004) are loosely counted as a trilogy of love. In the end chapter of his trilogy 2046, Wong continues to focus on Chou-Mu-Yun, a sentimental yet callous writer and womanizer. Revolving around the affairs of Chou, 2046 presents to its audience three pathways that love could possibly offer: to unite in happiness, to move on after the denial from the loved one, and to linger upon the unanswered love in perpetuity. Chou is undoubtedly chosen to be the bearer of the last pathway. As the

Her chirography contains elongated movements that are slow and flowy. When she moves it has a conclusion point but is not in no particular rush to get there. When she interacts with her partner, the man is the driving force. For example, if there was a combination he would make the bigger, perciser movements while she would make daintier movements. The white is also part of her description. The dress is flowy and pure white which accents her character of peacefulness. The white also coordinates with her choreography of wispy movement and contrasts the earthy tones of the other dancers who are big and precise. The conclusion of her elements and movements lead to her embodying a more traditional love. To illiterate, she represents a calm, slow burning love that lasts longer than a passionate love. This is also shown through the stark differences and conflicting dance style of the red

In the same paragraph that discusses the grandmother’s outfit, the colors red, blue, purple, and green are introduced. These colors are mentioned for the first time when discussing the grandmother’s clothes and the mother’s kerchief, and they repeated throughout the entire story. A connection can certainly be seen with the grandmother’s blue dress, because when the reader is first introduced to The Misfit, he is wearing blue jeans, and after his sidekicks kill Bailey, they take his shirt embroidered with blue parrots. It may not be easy to pick up on the repetition of these colors, but they are most

‘In The Mood For Love’ is a Romance melodrama and is Directed and written by Wong Kar-Wai which is a Hong Kong film and released in the year 2000. The film’s plot takes place in 1962 which tells the story of two married couples that move into the residents of Shanghai living in rented rooms of a neighbouring apartment, a newspaper editor Mr Chow (played by Tony Leung) and his wife, Mrs Chan (played by Maggie Cheung) and her husband a representative of a Japanese-owned company, both couples become neighbours. Mr Chow and Mrs Chan both being the main protagonists in the story discover that both their respective spouses are having an affair, the betrayal brings both of the protagonists together to meet and discuss about their spouses’ secret affairs and practice their countermeasures with one another towards their respective spouses. As they both meet day by day, they begin to have an uncertain affair and at times deliberately try to avoid one another perhaps due to ethical concerns, and yet deeply miss one’s company. Unfortunately, Mr Chow and Mrs Chan’s relationship comes to a regretful end. The following analytic essay will attempt to demonstrate to provide information in detail about the key concepts of the film’s style and the director’s

We see the color green as a symbol of dishonesty in multiple lights, in multiple characters, the way that the color green was intertwined with their “lies” is a depiction of the way the system of wealth and class affects the characters. One way we see dishonesty, and the idea of wealth intertwined is after the scene where Myrtle gets hit by the yellow car, the readers and other characters know the car is yellow. In a police interview Michaelis is questioned about the

The colors blue and green help create what a character is feeling. This is proven when George Beckwith is telling John Wayne about his change of heart toward the war. The shot shows Beckwith with a blue sky and

One of the most important components in the movie is aesthetic. The reason is aesthetic that can create atmosphere and mood. Especially, one of the most famous Hong Kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements in Aesthetic such as mise en scene, sounds, editing and the cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has unique aesthetic to elicit emotion. “” Those components can bring audiences into the movie. In this essay, I will argue that the subject of heartrending but romantic narrative has been depicted through the four components which are mise en scene, cinematography, editing and sound. This will be done by analyzing every scene, followed by analyzing each element of the film aesthetic.

The colors that Douglas uses in this piece which are, purple, gold, black, orange, and yellow, hold some meaning to them. Purple is associated with power, ambition, wisdom, and dignity. Douglas uses both light purple, which is used to show femininity, and dark purple, which can evoke gloomy feelings and is associated to spiritual fulfillment. Gold symbolizes divine, wisdom, and courage. It also evokes the feeling of prestige. Yellow is a warm color that is associated with energy, happiness, and intellect. The color yellow can be useful in attracting attention which can bring most of the attention to important elements. But the yellow that Douglas

Color is an important narrative factor in the Bound film. It tells a message that the action of the casts could not transmit to the audience. Color was used to set the atmosphere of the scene soft, tension and scary. Color is a visual effect tool that was used in this movie to make every scene real. At 18:49, the bright color of the scene reveals a lot to me. It’s a normal work and a sunny day that people are going to work so is time for Corky to go back to work the apartment. The dark color in the scene at 15:10 really stood out in the film. It is here that I really see the dark characteristic of this film and it also tells the message that it is night time and time for Corky to stop work and go back home. Also, the color of the movie at 1:24:52 is very clear and flat color marking the clearest scene of the movie.

Colour symbolism is used very efficiently in this movie, the colours itself tells a story and portrays a certain character's persona. The colour white in the movie was mainly associated with Daisy, in the movie daisy is always seen in white clothing, white represents pure beauty, purity, positivity and innocence. In one scene where Nick is going over to his cousins Daisy’s house for dinner he walks into a room where she had been, Daisy was wearing a white dress, wind was blowing from her white windows into her white curtains, and a clear chandelier right above her this portrayed daisy as an innocent naive, pure woman. White also symbolises emptiness, ruthlessness and selfishness, this had been linked to Daisy very well as under her purity and innocence she is a superficial, hollow, cold and selfish hearted person.

Scholars and film critiques have often regarded the fifth-generation film Director, Zhang Yi Mou’s films as a visually sensual feast (Zhu 26). The predominant use of the color Red in his highly stylized films: Red Sorghum (1988), Ju Dou and Raise the Red Lantern (1991) are evidence of his trademark visual style thus leading scholars to critically analyze the symbolic representation of the color. I would argue however, in addition to the prevalent use of red in his art-house films, there are several supporting colors (black, white, grey, blue), intertwining with the color red. Zhang seems

Her placid facial expression, pastel costuming and low angle shot illustrates her individual freedom as well as her freedom from worldly desires. She is seen to leap from the mysterious Wudang Mountains and disappear into the clouds, symbolic of her tranquil mindset when taking a ‘leap of faith.’ It is a choice which resonates with the Daoist philosophy of absolute non attachment and a pure moral action.

Perfect Blue is an ultimate example of the “animation for grown-ups”, or anime rated R. In conveys numerous topics and symbols. Through critical perception and national symbols, it exploits the issues of feminity, independence, over-consumerism, appearance preoccupation, personality disorders, etc. The visual of the chase sequence deals with three levels of symbols explored below: a) “evil twin” symbolic meaning; b) personality disorder visuality; c) allusions to thriller representation. The analysis aims at defining the traditional Asian symbols particular to anime expressive features along with media borrowings from Hollywood thrillers’ legacy.