By Martha P. Nochimson
With 25 essays that embody a large spectrum of subject matters and views together with intertextuality, transnationality, gender illustration, repetition, using track, colour, and sound, depiction of time and area 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 identified around the globe for the innovation, attractiveness, and fervour he brings to filmmaking.
- Brings jointly the main innovative, in-depth, and engaging scholarship on arguably the best residing Asian filmmaker, from a multinational workforce of proven and emerging movie students and critics
- Covers a massive breadth of subject matters akin to the culture of the jianghu in Wong's motion pictures; queering Wong's movies now not by way of gender yet throughout 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 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 quite a few 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 resources for A Companion to Wong Kar-wai
Nochimson society that are only temporary have been part of the investigation of the phenomenon of liminality. In Rabelais and His World (1965), Bakhtin explores the carnivalesque in culture and literature, in which he suggests the revolutionary possibilities of the liminality of the carnivalesque, when society is turned upside down. In other words, Bakhtin questions whether normality as it was assumed to be may never be fully restored once limits are transgressed. Karl Jung’s 1912 Psychology of the Unconscious, without using the word liminality, proposes his own model of understanding human development that includes a permanent liminality in the energies of the unconscious, and especially that of the shadow.
The apparent danger of the transnational concept is its indeterminacy. Analysis of a transnational phenomenon requires, to some degree, a denial of the determinism of a nationally coded context: production sites, aesthetic traditions, government support, critical and popular reception. There is also a latent trendiness in the concept. As Valentina Vitali and Paul Willemen note, the transnational cinema concept derived from academic concerns of the 1980s, when the globalizing economy compelled a more realistic assessment of how films are made and distributed (2006, 3–4).
And that same Wong is the occasion for experimenting with how we reproduce the locality of specific moments of male and female eroticism, how we represent perception of the locality of a police chase in a crowded urban environment, and what this tells us about our humanity and the human condition. The Wong in these pages is also the ground of the liminality of objects, spaces, places, and emotions. References Bakhtin, Mikhail (2009) Rabelais and his World, translated by Helene Iswolsky. Bloomington: Indiana University Press.
A Companion to Wong Kar-wai by Martha P. Nochimson