By Martha P. Nochimson
With 25 essays that embody a large spectrum of themes and views together with intertextuality, transnationality, gender illustration, repetition, using song, colour, and sound, depiction of time and area in human affairs, and Wong’s hugely unique portrayal of violence, A spouse to Wong Kar-Wai is a unique exam of the celebrated filmmaker recognized worldwide for the innovation, attractiveness, and keenness he brings to filmmaking.
- Brings jointly the main innovative, in-depth, and engaging scholarship on arguably the best dwelling Asian filmmaker, from a multinational workforce of confirmed and emerging movie students and critics
- Covers a tremendous breadth of issues corresponding to the culture of the jianghu in Wong's movies; queering Wong's motion pictures no longer when it comes to gender yet in the course of the artist's liminality; the phenomenological Wong; Wong's intertextuality; the USA via Wong's eyes; the optics of intensities, thresholds, and transfers of power in Wong's cinema; and the diasporic presence of a few women from Shanghai in Wong's Hong Kong
- Examines the political, ancient, and sociological impression of Wong and his paintings, and discusses his paintings from a number of 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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Extra resources for A Companion to Wong Kar-wai
On a similar note, Song Hwee Lim argues for an “intra-Asian intertextuality” as defining Wong’s work, a symptom of a broader trend in contemporary East Asian cinema (2011, 22). Most recently, Peter C. Pugsley considers Wong Kar-wai’s sense of music, pace, and performance as adding up to a particularly “Asian aesthetic” (2013, 11). Wong’s “penchant for the nostalgic Orient,” Pugsley argues, functions as “an internal alterity” (34) to other Asian cinemas – not presumably as an “external” alterity that could be identified as Occidental.
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. There is also a latent trendiness in the concept. As Valentina Vitali and Paul Willemen note, the transnational cinema concept derived from academic concerns of the 1980s, when the globalizing economy compelled a more realistic assessment of how films are made and distributed (2006, 3–4).
Carlos Rojas’s queer reading in “Queer Utopias in Wong Kar-wai’s Happy Together” opens up a temporal liminality by applying queer theory to the way he sees Wong portraying futurity. ” In Rojas’ innovative reading, Wong casts out the mapped out destiny of futurity as a pernicious form of illusion that threatens the vitality of the present through the conflation of what was with what will be such that no change or development is possible. Ackbar Abbas points toward still another form of permanent liminality.
A Companion to Wong Kar-wai by Martha P. Nochimson