By Martha P. Nochimson
With 25 essays that include a large spectrum of subject matters and views together with intertextuality, transnationality, gender illustration, repetition, using tune, colour, and sound, depiction of time and house in human affairs, and Wong’s hugely unique portrayal of violence, A better half to Wong Kar-Wai is a unique exam of the celebrated filmmaker recognized worldwide for the innovation, good looks, and fervour he brings to filmmaking.
- Brings jointly the main leading edge, in-depth, and engaging scholarship on arguably the best residing Asian filmmaker, from a multinational workforce of tested and emerging movie students and critics
- Covers an enormous breadth of themes comparable to the culture of the jianghu in Wong's movies; queering Wong's motion pictures now not when it comes to gender yet throughout the artist's liminality; the phenomenological Wong; Wong's intertextuality; the US via Wong's eyes; the optics of intensities, thresholds, and transfers of strength 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 various views together with sleek, post-modern, postcolonial, and queer theory
- Includes appendices which study Wong’s paintings in Hong Kong tv and commercials
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Extra info for A Companion to Wong Kar-wai
Nochimson described his films as all part of one large work, Nochimson reads Fallen Angels, set in modern Hong Kong, as inseparable, as one might expect, from Wong’s other modern chaos films, as she calls them, and also, unexpectedly, from his heritage films about ancient China. 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.
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.
Liminality studies may be either local and concentrated on sensuous images (weak theory) or universal and concentrated on cultural theorizing (strong theory) to discuss what it means to be on the threshold between this and that. Some knowledge of foundational theoretical liminality studies may be helpful here in understanding the larger context of such investigations, to highlight what sort of liminality tends to be embedded in Wong’s cinema. Some theoreticians who study liminality conceive of it as pathological and deviant, an unwholesome blurring of the clear lines of truth.