A Companion to Wong Kar-wai E-Book

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Serie: WBCF - Wiley-Blackwell Companions to Film Directors
• Sprache: Englisch

Seitenzahl: 1489

Veröffentlichungsjahr: 2015

Beschreibung

With 25 essays that embrace a wide spectrum of topics and perspectives including intertextuality, transnationality, gender representation, repetition, the use of music, color, and sound, depiction of time and space in human affairs, and Wong’s highly original portrayal of violence, A Companion to Wong Kar-Wai is a singular examination of the prestigious filmmaker known around the world for the innovation, beauty, and passion he brings to filmmaking.

• Brings together the most cutting edge, in-depth, and interesting scholarship on arguably the greatest living Asian filmmaker, from a multinational group of established and rising film scholars and critics
• Covers a huge breadth of topics such as the tradition of the jianghu in Wong's films; queering Wong's films not in terms of gender but through the artist's liminality; the phenomenological Wong; Wong's intertextuality; America through Wong's eyes; the optics of intensities, thresholds, and transfers of energy in Wong's cinema; and the diasporic presence of some ladies from Shanghai in Wong's Hong Kong
• Examines the political, historical, and sociological influence of Wong and his work, and discusses his work from a variety of perspectives including modern, post-modern, postcolonial, and queer theory
• Includes two appendices which examine Wong’s work in Hong Kong television and commercials

Leseprobe

Wiley Blackwell Companions to Film Directors

The Wiley Blackwell Companions to Film Directors survey key directors whose work together constitutes what we refer to as the Hollywood and world cinema canons. Whether Haneke or Hitchcock, Bigelow or Bergman, Capra or the Coen brothers, each volume, comprising 25 or more newly commissioned essays written by leading experts, explores a canonical, contemporary, and/or controversial auteur in a sophisticated, authoritative, and multi-dimensional capacity. Individual volumes interrogate any number of subjects – the director's oeuvre; dominant themes, well-known, worthy, and under-rated films; stars, collaborators, and key influences; reception, reputation, and above all, the director's intellectual currency in the scholarly world.

A Companion to Michael Haneke, edited by Roy Grundmann

A Companion to Alfred Hitchcock, edited by Thomas Leitch and Leland Poague

A Companion to Rainer Werner Fassbinder, edited by Brigitte Peucker

A Companion to Werner Herzog, edited by Brad Prager

A Companion to Pedro Almodóvar, edited by Marvin D'Lugo and Kathleen Vernon

A Companion to Woody Allen, edited by Peter J. Bailey and Sam B. Girgus

A Companion to Jean Renoir, edited by Alastair Phillips and Ginette Vincendeau

A Companion to François Truffaut, edited by Dudley Andrew and Anne Gillain

A Companion to Luis Buñuel, edited by Robert Stone and Julián Daniel Gutiérrez-Albilla

A Companion to Jean-Luc Godard, edited by Tom Conley and T. Jefferson Kline

A Companion to Martin Scorsese, edited by Aaron Baker

A Companion to Fritz Lang, edited by Joseph McElhaney

A Companion to Robert Altman, edited by Adrian Danks

A Companion to Wong Kar-wai, edited by Martha P. Nochimson

A Companion to Wong Kar-wai

Edited by

Martha P. Nochimson

This edition first published 2016 © 2016 John Wiley & Sons, Inc. except for Chapter 14 © P.O.L, 2009

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Cover image: Photo of Wong Kar-wai © Fairfax Media / Getty Images.

Contents

Notes on Contributors

Acknowledgments

Part One Introduction

Wong Kar-wai: Invoking the Universal and the Local

References

Part Two Mapping Wong's Liminality

1 Transnational Wong

Introduction

Transnational vs. national

Wong between models, theories, disciplines

Transience and randomness

Shifting narratives and self-referentiality

Talking to themselves

Conclusion

Notes

References

2 It is a Restless Moment

Generating and shaping flow

The Grandmaster

: Force, gesture, and release

Time flows, the body knows

Restless on the dance floor: Corporeal understanding

Notes

References

3 Wong Kar-wai and his

jiang hu

Introduction: The

jiang hu

and its discontent

Jiang hu

: Phantom space, lost space

Jiang hu

as intertextual space

Jiang hu

as space regained

Notes

Acknowledgments

References

Part Three Thresholds of Texture and Mood

4 Wong Kar-wai's Cinema of Repetition

To begin with repetition

A space of disappearance

The erotics of disappearance

The ruins of action

References

5 Wong Kar-wai

Images unfolding

From resonance to mapping

Translation and the “transcultural”

Notes

References

6 Color Design in the Cinema of Wong Kar-wai

The critical reception of color

Classical color aesthetics

Wong's improvisational methods

Color as an authorial signature

Colored audition and other forms of synesthesia

Vitality of landscapes

Play of memory

Color as a narrative enigma

Conclusion

Notes

References

7 The Value of Re-exports

“Once Upon a Time in Kung Fu”?

The world's first Wong Kar-wai moment

Global cinema as musical inventory

Bespoke or off the rack?

Borrowed music as mood music

Mood music as point of view

Repetition as appropriation

Acknowledgments

Notes

References

Discography

Part Four In the Corridors of History and Culture

8 Wong's Ladies from Shanghai

Introduction: Wong Kar-wai's Shanghai romance

The mother, the whore, and the housewife

Su Lizhen multiplied

Hemmed in: From scopophilia to cinephilia

Acknowledgments

Notes

References

9 The Sinophone Cinema of Wong Kar-wai

Introduction

Situating the Sinophone cinema of Wong

Minor transnationalism of a periphery outside China

Conclusion

Acknowledgments

Notes

References

10 New Queer Angles on Wong Kar-wai

Prologue: Do it over

Queer investments

Straight-up queer

Between genres

Erotics of failure

Bodies and bonds

Epilogue: Some strange noise

Acknowledgments

References

11 “Pity about the furniture”

Social realism, the Hong Kong New Wave, and its precedents for Wong's screen violence

Commercial filmmaking, Patrick Tam, and an alternative mode in screen violence

Violence, Wong Kar-wai style

Acknowledgments

Notes

References

12 In the Mood for Food

Introduction

As Tears Go By

(1988)

Days of Being Wild

(1990)

Ashes of Time

(1994)

Chungking Express

(1994)

Fallen Angels

(1995)

Happy Together

(1997)

In the Mood for Love

(2000)

2046

(2004)

My Blueberry Nights

(2007)

Coda:

The Grandmaster

(2013)

References

13

Chungking Express

, Tarantino, and the Making of a Reputation

Chungking Express

and the film festival circuit

Rolling Thunder Pictures and the Tarantino connection

The Godard connection

The missing context(s)

The legacy

Notes

References

Part Five Close-up of Wong's Inflections of Time and Space

14

Chungking Express

Acknowledgments

Notes

References

15 Wong Kar-wai

Submitting

Looking

Touching

Moving

Notes

References

16 Infidelity and the Obscure Object of History

Introduction

The 1960s trilogy as inter-/meta-texts

Infidelity and the anxiety of betrayal

Conclusion

Notes

References

17 Metonymy, Mneme, and Anamnesis in Wong Kar-wai

Introduction

Metaphor, symbol, metonymy

Time and metonymy in Wong's films

Nostalgic space vs. chronotopic space

Days of Being Wild

: Wrapping time into time

Mneme and anamnesis

Anamnesis, art, play

Nostalgia for the future

Notes

References

Part Six Focus on Individual Films

18 Serial, Sequelae, and Postcolonial Nostalgia

The transnational vs. the local/regional

From the transnational to the local/regional

The serial structure and the dialectic relationship between the transnational and the local

Notes

References

19 We Can't Go On Not Meeting Like This

Fallen Angels

and Wong's Intertextuality

Daddy, daddy

Speaking of silence

Forget Him

The Blonde and the camera

Speaking our language

Notes

References

20 The Third Reality

21 Cinephiliac Engagement and the Disengaged Gaze in

In the Mood for Love

The gaze disengaged

The cinephiliac reception of

In the Mood for Love

Offscreen space and the cinephiliac moment

The absence of spatial desire

Fragments of the present

Notes

References

22 Wong's America, North and South

Introduction

A matched pair

The homosocial road movie

From

Happy

to

Blueberry

Wong outside, outsiders in Wong

Natural access

In the driver's seat

Male–male relations

Female–female relations

Conclusion

References

23 Queer Utopias in Wong Kar-wai's

Happy Together

Starting over

New beginnings

Border crossings

Coda

Notes

References

24 Wong Kar-wai's Genre Practice and Romantic Authorship

The Wong Kar-wai brand of Romantic authorship

Nostalgia and Romantic authorship

Romantic authorship as modernist structuring of desire

Notes

References

25 Wong Kar-wai, Auteur and Adaptor

Notes

References

Filmography

As writer

As director

Appendix I Wong Works in Television

Notes

References

Appendix II Wong Works in Advertising

Conclusion

Notes

References

Selected Bibliography

Index

EULA

List of Tables

Chapter 6

Table 6.1

List of Illustrations

Chapter 1

Figure 1.1

The Wong Kar-wai protagonist in his/her environment: encountering random others. (a)

Days of Being Wild

(1990), directed by Wong Kar-wai, produced by Rover Tang. (b)

Chungking Express

(1994), directed by Wong Kar-wai, produced by Jeffrey Lau and Chan Yi-kan.

Chapter 2

Figure 2.1

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 2.2

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 2.3

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 2.4

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 2.5

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 2.6

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 2.7

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 2.8

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 2.9

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 2.10

The Grandmaster

(2013), directed by Wong Kar-wai, produced by Jacky Pang Yee Wah, Wong Kar-wai, and Harvey Weinstein.

Figure 2.11

The Grandmaster

(2013), directed by Wong Kar-wai, produced by Jacky Pang Yee Wah, Wong Kar-wai, and Harvey Weinstein.

Figure 2.12

The Grandmaster

(2013), directed by Wong Kar-wai, produced by Jacky Pang Yee Wah, Wong Kar-wai, and Harvey Weinstein.

Chapter 3

Figure 3.1

Xu Haofeng after the screening in Busan of

The Sword Identity

(2011), directed by Xu Haofeng, produced by Li Rui-Gootian. Photo courtesy of Li Rui-Gootian.

Figure 3.2

The “battle formation” of the prostitutes looking down at the men fighting.

The Grandmaster/Yi dai zong shi

(2013), directed by Wong Kar-wai, produced by Block 2 Pictures, Jet Tone Films, Sil-Metropole Organisation, and Bona International Film Group.

Chapter 5

Figure 5.1

Inside and outside the loft.

Fallen Angels

(1995), directed by Wong Kar-wai, produced by Jeffrey Lau.

Figure 5.2

Patterned curtain as intensive relay.

Fallen Angels

(1995), directed by Wong Kar-wai, produced by Jeffrey Lau.

Figure 5.3

First hit, with patterned curtain.

Fallen Angels

(1995), directed by Wong Kar-wai, produced by Jeffrey Lau.

Figure 5.4

Final shot: the image of capital.

Fallen Angels

(1995), directed by Wong Kar-wai, produced by Jeffrey Lau.

Chapter 6

Figure 6.1

The agent and the jukebox in

Fallen Angels

(1995), directed by Wong Kar-wai, produced by Jeffrey Lau.

Figure 6.2

Po-wing transfixed by the lampshade in

Happy Together

(1997), directed by Wong Kar-wai, produced by Chan Ye-cheng.

Chapter 7

Figure 7.1

Chow as Listener in

2046

(2004), directed and produced by Wong Kar-wai.

Figure 7.2

Pain as the object of the voyeuristic gaze in

2046

(2004), directed and produced by Wong Kar-wai.

Chapter 8

Figure 8.1

Rebecca Pan as “Rebecca,” the aging, drunken “flower” of Shanghai, in

Days of Being Wild

(1990), directed by Wong Kar-wai, produced by Rover Tang.

Figure 8.2

The out-of-focus Mrs Suen (Rebecca Pan) pierces Lizhen's (Maggie Cheung) carefully coiffed head and speaks through the younger woman, who has her back to the camera.

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 8.3

Mo-wan (Tony Leung) and Lizhen (Maggie Cheung) in the back of the taxi in

2046

(2004), directed and produced by Wong Kar-wai.

Chapter 10

Figure 10.1

As Tears Go By

(2008), directed by Wong Kar-wai, produced by Alan Tang.

Figure 10.2

“The Hand,” a short segment from

Eros

(2004), directed by Wong Kar-wai, produced by Stéphane Tchalgadjieff, Domenico Procacci, Jacky Pang Yee Wah, Jacques Bar, and Raphael Berdugo.

Figure 10.3

The Grandmaster

(2013), directed by Wong Kar-wai, produced by Jacky Pang Yee Wah, Wong Kar-wai, and Harvey Weinstein.

Chapter 11

Figure 11.1

Lobby card for

Days of Being Wild

(1990), directed by Wong Kar-wai, produced by Rover Tang, showing the fight in the Manila café. Photo courtesy of the Museum of Chinese in America (MOCA), Sun Sing Theatre Collection.

Figure 11.2

Archival footage of 1967 riots within

2046

(2004), directed and produced by Wong Kar-wai.

Figure 11.3

Lobby card for

Days of Being Wild

(1990), directed by Wong Kar-wai, produced by Rover Tang. Note Tony Leung Chiu-wai (in black), centrally seated among the ensemble cast, although later confined to the film's odd, indeterminate ending. Photo courtesy of the Museum of Chinese in America (MOCA), Sun Sing Theatre Collection.

Chapter 12

Figure 12.1

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 12.2

The Grandmaster

(2013), directed by Wong Kar-wai, produced by Jacky Pang Yee Wah, Wong Kar-wai, and Harvey Weinstein.

Chapter 13

Figure 13.1

DVD cover of

Chungking Express

(1994), directed by Wong Kar-wai, produced by Jeffrey Lau and Chan Yi-kan.

Part Five

Figure 14.1

Chungking Express

(1994), directed by Wong Kar-wai, produced by Jeffrey Lau and Chan Yi-kan.

Figure 14.2

Chungking Express

(1994), directed by Wong Kar-wai, produced by Jeffrey Lau and Chan Yi-kan.

Chapter 15

Figure 15.1

As Tears Go By

(1988), directed by Wong Kar-wai. Produced by Alan Tang.

Figure 15.2

2046

(2004), directed and produced by Wong Kar-wai.

Figure 15.3

2046

(2004), directed and produced by Wong Kar-wai.

Figure 15.4

2046

(2004), directed and produced by Wong Kar-wai.

Figure 15.5

2046

(2004), directed and produced by Wong Kar-wai.

Figure 15.6

2046

(2004), directed and produced by Wong Kar-wai.

Figure 15.7

2046

(2004), directed and produced by Wong Kar-wai.

Figure 15.8

2046

(2004), directed and produced by Wong Kar-wai.

Figure 15.9

Zabriskie Point

(1970), directed by Michelangelo Antonioni, produced by Metro-Goldwyn-Mayer.

Chapter 16

Figure 16.1

Days of Being Wild

(1990), directed by Wong Kar-wai, produced by Rover Tang.

Figure 16.2

The Grandmaster

(2013), directed by Wong Kar-wai, produced by Jacky Pang Yee Wah, Wong Kar-wai, and Harvey Weinstein.

Chapter 17

Figure 17.1

The dramatically ticking clock is an allusion to the inevitable progress of mathematically calculated time.

Days of Being Wild

(1990), directed by Wong Kar-wai, produced by Rover Tang.

Figure 17.2

Yuddy looks for a paradoxical sort of stability.

Days of Being Wild

(1990), directed by Wong Kar-wai, produced by Rover Tang.

Chapter 18

Figure 18.1

Leslie Cheung's Yuddy dancing in front of the “flying saucer” rattan chair popular in late 1950s to early 1960s Hong Kong. From

Days of Being Wild

(1990), directed by Wong Kar-wai, produced by Rover Tang.

Chapter 19

Figure 19.1

Fallen Angels

(1995), directed by Wong Kar-wai, produced by Jeffrey Lau.

Figure 19.2

Fallen Angels

(1995), directed by Wong Kar-wai, produced by Jeffrey Lau.

Chapter 21

Figure 21.1

Lizhen and Mo-wan on the latter's doorstep. From

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Figure 21.2

“Best part” sequence: the frame after Lizhen's exit and before Mo-wan's entry. From

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Chapter 22

Figure 22.1

Driving through America. From

My Blueberry Nights

(2007), directed by Wong Kar-wai, produced by Jacky Pang Yee Wah and Wong Kar-wai.

Figure 22.2

Driving through America. From

Happy Together

(1997), directed by Wong Kar-wai, produced by Chan Ye-cheng.

Chapter 23

Figure 23.1

Ho Po-wing staring at his bedside table.

Happy Together

(1997), directed by Wong Kar-wai, produced by Chan Ye-cheng.

Figure 23.2

An injured Lai Yiu-fai leaning his head on Ho Po-wing's shoulder.

Happy Together

(1997), directed by Wong Kar-wai, produced by Chan Ye-cheng.

Figure 23.3

Lai Yiu-fai's British passport.

Happy Together

(1997), directed by Wong Kar-wai, produced by Chan Ye-cheng.

Figure 23.4

Lai Yiu-far gazing at his reflection in a deeply stained wardrobe mirror.

Happy Together

(1997), directed by Wong Kar-wai, produced by Chan Ye-cheng.

Chapter 24

Figure 24.1

Zhang Ziyi in

The Grandmaster

(2013), directed by Wong Kar-wai, produced by Jacky Pang Yee Wah, Wong Kar-wai, and Harvey Weinstein.

Figure 24.2

Buddha statuary in

The Grandmaster

(2013), directed by Wong Kar-wai, produced by Jacky Pang Yee Wah, Wong Kar-wai, and Harvey Weinstein.

Figure 24.3

Picture taking in

The Grandmaster

(2013), directed by Wong Kar-wai, produced by Jacky Pang Yee Wah, Wong Kar-wai, and Harvey Weinstein.

Chapter 25

Figure 25.1

Ashes of Time

(1994), directed by Wong Kar-wai, produced by Tsai Sung-lin, Jacky Pang Yee Wah, Wong Kar-wai, and Jeffrey Lau.

Figure 25.2

In the Mood for Love

(2000), directed and produced by Wong Kar-wai.

Guide

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Notes on Contributors

Ackbar Abbas is Professor of Comparative Literature at the University of California, Irvine. His book Hong Kong: Culture and the Politics of Disappearance was published in 1997.

Raymond Bellour, researcher and author, is a Research Director Emeritus at the Centre National de la Recherche Scientifique (CNRS) in Paris. He has an interest in literature, both Romantic – the Brontës, Ecrits de jeunesse (1972); Alexandre Dumas, Mademoiselle Guillotine (1990) – and contemporary: Henri Michaux (1965); the edition of Michaux's complete works in “La Pléiade” (1998–2004); and Lire Michaux (2011). He also has an interest in cinema – Le Western (1966); L'Analyse du film (1979), translated as The Analysis of Film; Le corps du cinéma: Hypnoses, émotions, animalités (2009) – as well as in mixed states of images (painting, photography, cinema, video, virtual images), the passages between them, and the relations between words and images: the volumes L'Entre-Images: Photo, cinéma, vidéo (1990), translated as Between-the-Images; Jean-Luc Godard: Son+Image (1992); L'Entre-Images 2: Mots, images (1999); and La querelle des dispositifs: Cinéma – installations, expositions (2012). He has curated the exhibitions Passages de l'image (1989), (2005), (2006), and (2010). He is a founding member of the film journal .