Wong Kar-wai

Hong Kong occupies a unique place in history; it exists as a city with an expiration date. In his films, Wong Kar-wai is known for exploring the idea of deja desparu—the already disappeared. In the Mood for Love was his first film following the 1997 transition, when the city changed from being a colony of Great Britain to the Special Administrative Region of China. The film explores the post-1997 mood and experiences a true sense of nostalgia, not for the past, but for that which could have been

In the Mood for Love by Kar-wai Wong Introduction The movie “In the Mood for Love” was a Chinese movie which was released in the year 2000 and it was directed by Wong Kar-wai. The movie premiered at the 2000 Cannes Film festival and it was nominated for Palme d 'Or in the best picture category. The picture stars Maggie Cheung and Tony Leung in the lead roles. The film revolves around two married couples who were undergoing a tumultuous marriage as they were not able to find time for each other and

In the shortfilm of The Follow by Wong Kar Wai, he used the different slow motion movements during the opening shot of each films. The credits in The Follow are a pattern of straight lines that move across the screen, cutting into the space. An intense observation of The Follow opening credit sequence is vital to understanding how The Follow makes the film mirror of opening. At first, the film zooms in the on certain parts of a man face. The Follow (2001) quoted by BMW films. BMW took place along

Wong Kar-Wai’s visually stunning In the Mood for Love, is a 2000 film set in Hong Kong 1962. The two protagonists, Chow Mo-Wan, and Su Li-Zhen (Ms. Chan), become neighbors where they learn about the infidelity of their partners. Through their mutual betrayal, they begin to develop an intimate bond, but fear expressing it to avoid devaluation of their character. Wong is able to exhibit the love and perversity that circulate throughout the film with minimal physical affection and dialogue. Particular

This essay will explore Wong Kar-Wai’s relationship with genre within the context of the Hong Kong film industry, along with Wong’s various international influences, in order to argue, Chungking Express was a major turning point in his career in terms of his complex relationship with various elements of film genre. Contextualising genre within the Hong Kong film industry: Of all the international film industries across the globe Hong Kong is certainly one that is synonyms with genre cinema. Considering

More like a cameo than an actual role, her presence however, is once more ethereal and sensual, despite the fact that she appears chiefly for connecting this particular film with "In the Mood for Love." 13. Ashes of time (Wong Kar Wai, 1994) Ouyang Feng owns a small hotel in the middle of the desert, where he works as an intermediate between individuals who seek revenge and potential killers for hire. Huang Yao Shi is a swordsman who visits him every year and this time, he brought

Chungking Express, a film by Wong Kar-wai is filmed in loose, imprecise splashes of motion and colour. This element along with hand-held camera work are used to create an alluring portrait of Hong Kong in the 1990’s. The film, split into two sections involves two smitten cops along with two objects of desire (one a big-time heroin dealer in trouble with her boss, the other, a flaky waitress who mistakably gets hold of the keys to her admirer 's apartment). The first cop, 223 has broken up with his

Identifying the Author: The Mood For Love By Jullian Marcelo Marimla ‘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

movie is aesthetic. The reason is that aesthetic 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 of Aesthetic such as Mise en scene, sounds and 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 audience to the movie. In this essay, I will argue that the subject

Comparing the Narrative and Formal Devices of ChungKing Express and A Bout de Souffle Wong Kar Wai’s movie ‘ChungKing Express’ bears many similarities to Godard’s ‘A Bout de Souffle’. To start with, Wai employs a number of cinematic techniques, obviously derived from the French New Wave, such as for example the jump-cut which is evidently taken from Godard’s film. His use of the Godard-ian jump cut seamlessly blends temporally-exclusive scenes together, making the passage