The Cultural Aesthetic of Wong Kar-Wai

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The Cultural Aesthetic of Wong Kar-Wai

홍콩 영화 감독 관련 연구레포트

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The Cultural Aesthetic of Wong Kar-Wai

DISPLACED IDENTITIES AND ALIENATION
CHANGE, AND REDEFINING CULTURAL SPACE
NEW HONG KONG SUBJECTIVITY
END NOTES:
BIBLIOGRAPHY:

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The Cultural Aesthetic of Wong Kar-Wai

In the films of Hong Kong director Wong Kar-Wai, most images flash across the screen, appear and disappear before the viewer’s eyes in quick flashes of recognition. These images do not seem to be highly planned but incidental; the perfect shot decided upon at the time of shooting. This might lead some to believe that these shots, and the aesthetics they present, are merely accidental, and thus lacking in any significant meaning. Yet quite the opposite is true. In viewing Chungking Express, Fallen Angels, and Happy Together, there seems to be no shot that could have been cut out. Whether incidental, improvised, or planned, every single shot seems to carry within it the theme of the entire film. The fact that most of these shots were not extensively pre-planned serves only as a testament to Wong’s skills as an improvisationist, his astounding ability to put a shot together, on the spot, that has all the depth and meaning of a Hitchcock or Kubrick shot that took two weeks to plan and perfect.
Whether improvised or planned, the aesthetics in each frame present a sophisticated code to the message of the film. ,

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· The Cultural Aesthetic of Wong Kar-Wai