By Martha P. Nochimson
With 25 essays that include a large spectrum of issues and views together with intertextuality, transnationality, gender illustration, repetition, using song, colour, and sound, depiction of time and house in human affairs, and Wong’s hugely unique portrayal of violence, A significant other to Wong Kar-Wai is a novel exam of the distinguished filmmaker recognized world wide for the innovation, attractiveness, and fervour 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 crew of tested and emerging movie students and critics
- Covers a major breadth of themes equivalent to the culture of the jianghu in Wong's motion pictures; queering Wong's motion pictures now not when it comes to gender yet in the course of 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, old, and sociological impression of Wong and his paintings, and discusses his paintings from a number of views together with glossy, post-modern, postcolonial, and queer theory
- Includes appendices which study Wong’s paintings in Hong Kong tv and commercials
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Additional info for A Companion to Wong Kar-wai
There are also liminal objects like mirrors and reflecting water that blur the boundaries between a thing and its reflection, and Invoking the Universal and the Local 15 a crossroads. Hotels, restaurants, shops, train stations, airports, trains, planes, cars, and buses, which are part of the traffic between unfluctuating locations, like homes and offices, are liminal in character. If anything, they are more aggressively liminal than a mere conduit, in that they imitate aspects of defined locations, but like mirrors they are only a shadow of what they reflect.
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 scholarly intention in all of these writings is to escape traditional East–West binary oppositions, to 32 Ken Provencher escape the determinism of the West in writings about “Eastern” subjects. However, casting a brighter light on the intra-Asian aspects of Wong’s films, while illuminating, fails to shed light upon the appeal of Wong’s films outside of Asia.
Scholars readily accept Hong Kong cinema as conditionally transnational in relation to China, following Sheldon Lu’s intra-Asian definition of transnational Chinese cinemas. Yingchi Chu, for instance, argues that Hong Kong cinema from the late 1970s on was a “national cinema” produced inside a “quasination,” and that the “cultural specificity” of Hong Kong films is demonstrated in “cinematic representations of Hong Kong’s identity as a duality: being geographically both Hong Kong and China” (2003, 51, 63).