By Martha P. Nochimson
With 25 essays that include a large spectrum of themes and views together with intertextuality, transnationality, gender illustration, repetition, using track, colour, and sound, depiction of time and house in human affairs, and Wong’s hugely unique portrayal of violence, A spouse to Wong Kar-Wai is a novel 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 fascinating scholarship on arguably the best residing Asian filmmaker, from a multinational crew of confirmed and emerging movie students and critics
- Covers an incredible breadth of subject matters similar to the culture of the jianghu in Wong's motion pictures; queering Wong's movies no longer by way of 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, historic, and sociological impact of Wong and his paintings, and discusses his paintings from numerous 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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Additional info for A Companion to Wong Kar-wai
Transnationalism, in this approach, is a theoretical antagonist, or at the very least a limited model of analysis compared to more national or regional approaches. Transnationalism is the distracting glitter (or “gloss”), enticing in its appearance but ultimately damaging to characters and critics alike. The intention of these studies is to serve as a corrective to transnational approaches that run the risk of framing Wong’s cinema as a utopian vision of speed, transit, and nostalgia. Indeed, they reflect upon a significant – if fairly obvious – ambivalence, if not ambiguity, in Wong’s films.
Accounting for Wong’s transnationalism, scholars frequently cite the “paradox” (`a la Stephen Teo) of Wong’s bifurcated status: as representing Hong Kong cinema to the world while simultaneously placing outside the commercial realm of that “local” cinema.
Nochimson contends that Wong’s oeuvre as a whole is a dialogue between his two polar categories of films, his heritage films and his films of modern collapse, each of which reflects backwards and forwards on the same problems as they appear today and long ago, and ultimately dissolves the notion of polarity. Ultimately, Nochimson reads Wong’s entire oeuvre as a liminal time continuum, in which there are no clean temporal borders; all of the films interpenetrate each other. From Nochimson’s perspective, Fallen Angels emerges from the liminality of Wong’s time continuum as one palimpsest among many that exist in time.
A Companion to Wong Kar-wai by Martha P. Nochimson