Anna Wong Research Paper

Anna Wong Research Paper
1928 and 1929 were important years for Los Angeles–born Chinese actress Anna May Wong. News reports about her Hollywood movies decreased,
instead, according to an American gossip columnist visiting Europe during Wong's tenure, she was "acclaimed by nobility" in several European
newspapers (Petersen, 2014). Severely limited by the noxious roles she was offered in Hollywood, which misrepresented Asian women, Wong left the
United States for Europe (Vechten, 2003). She then spent two years in Germany, England and France, where she gained global attention and
worldwide stardom. This special period in Wong's life was also a sensitive period for Chinese immigrants and all the ethnic actors and actresses in
Hollywood, who barely made livings under... Show more content on Helpwriting.net ...
Her first movie in Germany Song showed her sophistication to the European audiences. In the year 1928 New York Time's Article titled "Berlin
Praises Miss Wong: Her First Film Produced in Germany Acclaimed Premiere", the journalist wrote that: "Credit is given to China for the success
achieved in the Alhambra Theatre last night by Anna May Wong of Hollywood in 'Song,' the first picture she screened here under the management
of Richard Eichberg, independent German producer. (New York Times, 1928)" They thought that having Wong in the film was a chance for
development and a chance to enlarge the area by involving characters of Asian, when in that time, not so many Asians were in Europe. Besides,
Wong was truly a wise woman. She spoke fluent German in her first talkie, "The Road to Dishonor". The article claimed that "Four months ago she
hardly knew a word of German. Today, they assure me, she speaks like a native. From the spluttering that goes on I feel certain this is true" (Shute,
1929). By doing everything herself, even the auditoriums, she finally bloomed her talents. Like a good horse finally find the right trainer, I regret her
not having met these producer's sooner. If so, she might start her global career much faster. Yet, what was most valuable to her was European
filmmakers' embrace of her identity, besides focusing more on
... Get more on HelpWriting.net ...

Mise En Scene Essay
Introduction of Mise en Scene
Mise en Scene are used in every aspects of filmmaking. The term refers to the overall look and feel of a film. It is what the viewers sees, hears and
experiences while watching a film. A film's Mise en Scene subtly influences viewer's mood as they watch a film, much like decor, lighting, smells
and sounds can influence our emotional response to an actual place. In Film Art: An Introduction, Bordwell (2001), explained that in Mise en Scene,
realism can be achieved by giving the settings an accurate and convincing look or letting actors express their emotions through performance as
naturally as possible. This paper will discuss and analyse the significance of Mise en Scene in Wong Kar Wai'sIn The Mood For Love ... Show more
content on Helpwriting.net ...
A major key element in the film comprises of settings. It is where the actions takes place and helps viewers to understand where and when the film
is set. Settings not only create mood, it has social, psychological, emotional and cultural significance in which the film are able to portray. Settings
used in the film are very rarely just backgrounds to the characters dialogue. Viewers are often seen shots of places, without any action taking place.
They can be used to influence viewers by building certain expectations and then the actions takes a different turn. Gibbs (2002) mention that, 'Mise
en scene therefore encompasses both what the audience can see and the way in which we are invited to see it'. For example, the scene where Mrs.
Chan goes to get noodles where she is seen to be walking along a dark alley down the stairs, gives viewers a certain expectation to emphasize the
character's emotional state. Viewers are also made to see Mr. Chow going down the same stairs as Mrs. Chan walks back up without any
conversation taking place. This tells viewers what they see suggesting the lost in their daily routine of doing the same thing over and over again, going
to work, getting noodles and accepting the unfaithfulness of their spouses. It also gives viewers a sense of developing bond between the two
characters over

Maggie Cheung Man Yuk Essay
Maggie Cheung Man Yuk, as is her complete name, was born in Hong Kong by Shanghainese parents, who moved to the United Kingdom when she
was eight. She returned to Hong Kong at the age of 18, in 1982 and ended up staying, chiefly due to finding work as a model. In the next year, she
entered the Miss Hong Kong pageant, won the first runner–up and the Miss Photogenic award, and was a semi–finalist in the Miss World pageant the
same year.
She started her career in show business in TV but she quickly made the transition to cinema. However, her first roles were limited to eye candy roles,
with the most famous among them being that of "May" in the first three "Police Story" films along Jackie Chan. Nevertheless, 1988 signaled her first
collaboration ... Show more content on Helpwriting.net ...
10. As Tears Go By (Wong Kar Wai, 1988)
Wong Kar Wai's directorial debut was where Maggie Cheung truly began her serious acting career, according to her own words.
Wah is a young triad member who faces a number of problems, with the largest being his protГ©gГ© named Fly, an aspiring gangster who seems to
constantly making a mess of everything. Things become more complicated for Wah, when his second cousin Ngor comes to live with him because she
must receive medical treatment for her malfunctioning lung. The two of them end up falling for each other.
Maggie Cheung gives a strong performance as Ngor, although for the biggest part of the film she has the role of the "eye–candy." However, after her
character falls in love with Wah, her acting abilities become rather evident, particularly in the scene where the two lovers part and she slowly starts
crying.
9. Green Snake (Tsui Hark,

In A Heartbeat By Beth David And Esteban Bravo
In A Heartbeat by Beth David and Esteban Bravo is an animation short film with a young redhead boy whose heart went chasing after a " crush" as
shown of his. But soon his heart is ripped into two when they are shown in the public eye together– soon leading for his crush to put it back together. In
A Heartbeat by Beth David and Esteban Bravo send the message to it's viewers that the heart wants what it wants. When one young man heart is
going after the " popular " boy in school. This short film is well built by the acting of the two characters. They don't speak, but yet viewers can still
feel the butterflies, upset stomach and chemistry that grows throughout the film. In A Heartbeat has hit 35 million views, winning awards "GLAAD
Media Award for Special Recognition" for the LGBTQ message Beth and Esteban have sent out.This film sends that message out really well because
the young redhead didn't allow himself to follow his heart and was too shy to do so. When his heart took over he felt embarrassed because he had
everyones eye on him and was heart shattered after. But with all of this emotion happening in the end his heart repairs to be happy with his crush....
Show more content on Helpwriting.net ...
This is all thanks to Arturo Cardelus the music producer. Around ( 2.25 minutes ) when his heart has finally reached his crush Viewers can feel the
sadness the young redhead is having because he is in the public eye and has been outed by his own heart. Leading to embarrassment in result of a
broken heart. Which is highly an amazing experience because viewers would want themselves to be in the moment of the characters and not just a
viewer. Which they were allowed to experience all thanks to Arturo

Crouching Tiger and Hidden Dragon a Movie Directed by Ang Lee
Beyond the boundary of East and West
Crouching Tiger and Hidden Dragon, one of the most successful and popular Chinese–language movie in the West directed by Ang Lee, was considered
as an eastern film for the western audience and a western film for the east. "I didn't see any tiger or dragon in Crouching Tiger, Hidden Dragon; then I
get it – they all crouched and hid." This joke provoked a wave of laughter during an award ceremony in the United States, but my response was a
satiric sneer. This is because the phrase "crouching tiger, hidden dragon" in Chinese is an old idiom, which should rather be understood by its
metaphorical meaning instead of interpreting it literally, as the joke teller did. The same joke created different reactions among audiences of different
regions; similarly, the same film – Crouching Tiger, Hidden Dragon (Crouching Tiger)– received diverse responses in the United States and China.
Compare to its huge popularity in the west, this movie did not strike such success in Chinese community especially mainland China, where the story
takes place. In many mainstream movie communities like Mtime and Douban in China, Crouching Tiger does not rank even top 30 in overall film
ratings. How does it happen? I think the director and his filming style is a really important clue for this question. And with the director's unique filming
style, Crouching Tiger succeeds internationally and differs itself from other martial arts genre and Hollywood action movie for

Wong Kar-Wai's Relationship with Genre
This essay will explore Wong Kar–Wai's relationship with genre within the context of the Hong Kong film industry, along with Wong's various
international influences, in order to argue, Chungking Express was a major turning point in his career in terms of his complex relationship with
various elements of film genre.
Contextualising genre within the Hong Kong film industry:
Of all the international film industries across the globe Hong Kong is certainly one that is synonyms with genre cinema. Considering the commercial
nature of its film industry, it seems only appropriate that when discussing Hong Kong cinema as a whole, genre seems to be a frequent and integral
part of the conversation. The Hong Kong film industry was built to turn a profit and has become the dominant figure in all of East Asian cinema,
relying heavily on exporting its films to Mainland China and Taiwan, as well as local box–office sales. Ding–Tzann Lii describes this relationship as
one of 'marginal imperialism' and compares the Hong Kong industries hold over East Asia to that of Hollywood's over the rest of the world. (1998:
125) However, with such a large demand for product Hong Kong has struggled to produce enough films each year to maintain its industries growth.
Production rapidly became focused on making films quickly, cheaply and with the intention of being sold easily. The industry became much like a
factory, producing films in an assembly line fashion, often pushing films into production without a

Urban stories
Chungking Express, a film by Wong Kar–wai is filmed in loose, imprecise splashes of motion and colour. This element along with hand–held camera
work are used to create an alluring portrait of Hong Kong in the 1990's. The film, split into two sections involves two smitten cops along with two
objects of desire (one a big–time heroin dealer in trouble with her boss, the other, a flaky waitress who mistakably gets hold of the keys to her
admirer 's apartment). The first cop, 223 has broken up with his girlfriend and as a result goes on to purchase a tin of pineapple with an expiration
date of 1ST May each day for a month with the expectation that either his lover will return to him or their relationship will, like the pineapples, expire...
Show more content on Helpwriting.net ...
His constant use of reflections and vertical framing helps the audience to interpret the change of the characters identities. Mirrors make for a visual
confusion and could cause the audience to question whether what they are seeing is reality or simply a reflection. Vertical framing and multiple images
of characters create an aesthetic view of characters identity and through film language visually portrays them as trapped within the change and
confusion of the cities identity as well as their own.
The repeated theme of expiry helps Wong Kar–wai to emphasise the anxiety of the expected changes for Hong Kong in the 1990's. His constant
referencing to objects and arrangements 'expiring' is shown through his choice of props and framing devices. The pineapple that 223 buys is an
example of this theme, as well as the plane ticket that Faye gives to 663 with an expiry date of a year from that point. This constant reminder of
expiration reminds us of the countdown to 1997, the Handover to China. This fear of change is also reinforced through the element of the future and
the fact that the narrator can see outside of the film and tell the audience that things will change for Hong Kong and therefore the characters' lives also,
highlighting the characters anxiety and fear of the change that they are all expecting however having to learn how to accept it.
The ending of Wong Kar–wai's 'The Chungking Express' only underpins the elements referred to throughout

In The Mood For Love Essay
What is the ultimate form of a tragic love? For Wong, it is neither denial nor acceptance, but an eternal state of longing and waiting. Among Wong
Kar Wei's internationally acclaimed productions, Days of Being Wilde (1990), In the Mood for Love (2000), and 2046 (2004) are loosely counted as a
trilogy of love. In the end chapter of his trilogy 2046, Wong continues to focus on Chou–Mu–Yun, a sentimental yet callous writer and womanizer.
Revolving around the affairs of Chou, 2046 presents to its audience three pathways that love could possibly offer: to unite in happiness, to move on
after the denial from the loved one, and to linger upon the unanswered love in perpetuity. Chou is undoubtedly chosen to be the bearer of the last
pathway. As the... Show more content on Helpwriting.net ...
Mazierska discusses the overarching theme "trapped in presence" in Wong Kar Wei's movie as postmodern implication that correlates to Wong's
addicted uses of montage and symbolism in narration and editing (p8, Mazierska). As he considers, Wong's works share the similarity with several
postmodern authors. "The notion of alternative temporalities is central to the narrative organization to postmodern novels, such as those of Italo
Calvino and Alain Robber–Grillet."(p17, Mazierska and Rascaroli). James Udden also argues in "the Stubborn Persistence of Local In Wong Kar–wai"
that Wong's popularity is credited to his typically post–modern philosophy of denying his Hong Kong identity and embracing it at the same time
(finnayson, p143). In some more relevant cases, Flannery Wilson discusses Wong's overlapping narration between presence and future in 2046 as the
manifestation of Deleuze's theory of "crystal of time," vaguely alluding to the notion that virtual and the real intermingles in 2046 (p164, Finnayson).
Brunette also postulates that the sense of resisting the advancement of time correlates to what the Fredric Jameson terms as "longing for the present.
(Teo, p358) " Although it is evident that every production of Wong concerns the subject of love, few theorists have been found so far who posit
Wong's interpretation of love in a post–modernistic framework. The one who got closest to this

Analysis Of In The Mood For Love
One of the most important components for the movie is aesthetic. The reason is that aesthetic can create atmosphere and mood. Especially, one of the
most famous Hong kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements of Aesthetic such as Mise en scene,
sounds and cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has unique aesthetic
to elicit emotion. "" Those components can bring audience to the movie. In this essay, I will argue that the subject of heartrending but romantic
narrative has been depicted through the two components which are mise en scene, cinematography and sound. This will be done by analyzing every
scene, followed by analyzing each element of the film aesthetic.
The feature expressing style of Wong Kar Wai is indirection. Wong Kar Wai expresses indirect character's emotion and thoughts. The main character of
In the mood for love is Tony Leung, who acts Mr. Chow in this movie, Tony Leung is a famous actor as The Grandmaster (2013) directed by Wong
Kar Wai. Maggie Cheung acts Mrs. Chan in the same movie for the main character. Maggie is a famous actor as HERO (2002) directed by Zhang
Yimou. The story of In the mood for love is about illicit love. The set is the early 1960s Hong Kong. Chow Mo–Wan and Su Lizhen are neibour. but
they realize that their companion have a love affair. Su and Chow do not have brave to face the problem and started meeting each

Cop 663
Wong Kar–wai's Chungking Express (1994) follows two cops, Cop 223 (Takeshi Kaneshiro) and Cop 663 (Tony Leung Chiu Wai), as they navigate
around their incidence with unrequited love and their ultimate decision to move on from such a disheartening position. However, the unique structure
of the movie is that it translates both experiences separately, first with Cop 223, and half way through the movie the audience is introduced to Cop
663's story. Throughout the film, though the main characters' stories are told in different perspective, the characteristic of 'similar but different' is
unavoidable in terms of finding and experiencing love for both policemen. Henceforth, I will analyze how Cop 223 and Cop 663 are slightly united in
their stories... Show more content on Helpwriting.net ...
Though the movie's plot portrays these similarities in different characters, the perspective of that the film takes allows audience to identify slight
differences in the way the characters are portrayed. The intrigue of the movie is that Faye's character is left off without an introduction in Cop 223's
narrative but is reintroduced within the context of Cop 663's character, giving the plot of the film a continued certainty. The timing of characters
becomes pivotal in the choices they make throughout the film as well as how closely; Cop 223 and Cop 663 are essentially linked in these
narratives by Faye even though her perspective of them is different. The storyline highlights the importance of loss in the case of Cop 223, being that
where he was unable to find even a semblance of a relationship, Cop

Analysis Of Wong Kar Wai 's The Mood For Love
Wong Kar–Wai's visually stunning In the Mood for Love, is a 2000 film set in Hong Kong 1962. The two protagonists, Chow Mo–Wan, and Su
Li–Zhen (Ms. Chan), become neighbors where they learn about the infidelity of their partners. Through their mutual betrayal, they begin to develop an
intimate bond, but fear expressing it to avoid devaluation of their character. Wong is able to exhibit the love and perversity that circulate throughout the
film with minimal physical affection and dialogue. Particular images play a strong role in broadening the viewer 's understanding of the film, because
although Chow and Su remain moderately reserved, their relationship and emotions are palpable through the film 's aesthetic elements. The plot
consists of... Show more content on Helpwriting.net ...
Before Chow admits his feelings, the scene begins with him stating he wait with Su in the rain despite that she said they should not be near each
other. Su only admits that they should not go inside together, but is silent when Chow still decides to wait suggesting that she desires his company,
but simply struggles admitting so. There is a long moment of silence and stillness as the camera captures the two leaning on the building together,
but only within a small portion of the shot. The other half of the image remains covered by a building. The blockage of the building reflects the
difficulty the two are finding it to admit how they feel because similar to the building that emphasizes them towards the tight corner, the opinion of
others and moral values are holding them back. In addition, the camera plays a role in making the two feel they have no room to explore their
feelings. The camera observes the two from afar, peeking from around the corner similar to a spectator ready to judge on any wrong move they make.
The image also captures both Chan and Chow from a distance as though they are irrelevant in the larger spectrum of things. By half of the image
consisting of little openness on the street, whereas the other half is covered, it emphasizes how much room they feel the world is allowing them to
explore their feelings, and therefore displays the trapped nature of their situation. After Chow admits his feelings, the scene concludes with Mrs.

Examples Of Individualistic Love In The Bear Came Over The...
Romantic love is often in conflict with collective values, social or family responsibilities, and ethics. When they are in conflict, individualistic love
may give way to ethical concerns and morality. Argue for or against this statement, using what you have learned from the course to support your point
of view. Either Wong Kar–wai's film In the Mood for Love or Alice Munro's "The Bear Came over the Mountain" must be included in your discussions.
Nowadays, people tend to care less about morality when they are involved in romantic love. Ethics values and moral standard changes over time, it
may not be necessary for people to blindly follow to existing moral standard of the society. Instead, people should follow their heart that is what they
want indeed. More importantly, Although Individualism is defined by Hui and Triandis in 1986 as 'a sense of independence and lack of concern for
others', according to an article 'Cultural perspectives on romantic love'. However, individualistic love is not necessarily leads to selfish behaviors.
Besides, people may be altruistic and make ... Show more content on Helpwriting.net ...
However, love may lead ones to make self–scarification and give the society a better value than moral standard such as self–sanctification. In the short
story, 'The bear came over the mountain' wrote by Alice Munro, Fiona suffers from Alzheimer disease. After moved to the nursing house for 30 days,
she forget her husband, Grant. After that, Aubrey's wife bring Aubrey home from the nursing house and leads Fiona to depression. Although Fiona
forget Grant and betray him to develop a new bonding with Aubrey, Grant is still willing to sacrifice theirmarriage and convince Aubrey's wife to
move Aubrey to the nursing home permanently. Even it may be immoral, Grant still make his scarification for Fiona's happiness because of his love to
Fiona. Individualistic love may influence one to act selflessly and provide a harmonic

Analysis Of Aesthetic In In The Mood For Love
One of the most important components in the movie is aesthetic. The reason is aesthetic that can create atmosphere and mood. Especially, one of the
most famous Hong Kong director Wong Kar Wai, who direct In the mood for Love (2000) put many elements in Aesthetic such as mise en scene,
sounds, editing and the cinematography. Aesthetic is an essential factor to construct a character, and create mood. Especially Wong Kar Wai has
unique aesthetic to elicit emotion. "" Those components can bring audiences into the movie. In this essay, I will argue that the subject of heartrending
but romantic narrative has been depicted through the four components which are mise en scene, cinematography, editing and sound. This will be done
by analyzing every scene, followed by analyzing each element of the film aesthetic.
The feature expressing style of Wong Kar Wai is indirection. Wong Kar Wai expresses indirect character's emotion and thoughts. The main character of
In the mood for love is Tony Leung, who acts Mr. Chow in this movie, Tony Leung is a famous actor as The Grandmaster (2013) directed by Wong
Kar Wai. Maggie Cheung acts Mrs. Chan in the same movie for the main character. Maggie is a famous actor as HERO (2002) directed by Zhang
Yimou. The story of In the mood for love is about illicit love. The set is the early 1960s Hong Kong. Chow Mo–Wan and Su Lizhen are neighbors. but
they realize that their companion has a love affair. Su and Chow do not have brave to face the problem and

Editing In Fallen Angels And We Are The Best
The effect of editing in Fallen Angels and We Are the Best
Corrigan and White (2012) state, "the power and art of film editing may emulate ordinary ways in which the hundreds or thousands of discrete
images that make up a film can be shaped to make sense or to have an emotional or a visceral impact (p.134). As viewers, we can find two directors
who use different editing and through the editing, their films form their own styles and give us distinctive feedback. In this chapter, this article will
give you two editing styles, such as jump cut in Fallen Angels and continuity in We Are the Best, and analyze why two methods make sense
distinctively to us.
There are no many conversations in Wong's film, so jump cut acts as an important bridge to

Comparing the Narrative and Formal Devices of ChungKing...
Comparing the Narrative and Formal Devices of ChungKing Express and A Bout de Souffle
Wong Kar Wai's movie 'ChungKing Express' bears many similarities to Godard's 'A Bout de Souffle'. To start with, Wai employs a number of
cinematic techniques, obviously derived from the French New Wave, such as for example the jump–cut which is evidently taken from Godard's film.
His use of the Godard–ian jump cut seamlessly blends temporally–exclusive scenes together, making the passage of time unnoticeable. Other
Godard–ian touches include the many shots of clocks, which remind the viewer that despite the protagonist's fixation on the past, time continues to
move on and that moments in the present are ... Show more content on Helpwriting.net ...
She wears the same type of cloths, has the same hair do and her rather eccentric attitude to life also corresponds to that of her French counterpart.
The primary function of the traditional Hong Kong film industry was to churn out movies aimed at the general public and make sure that they bring in
a profit. This is much like the French film industry was before the emergence of the French New Wave. However Wai's 'ChungKing Express' was clearly
not aimed at the masses, but rather only at the people who have developed a real understanding and appreciation for the art of film. Godard's 'A Bout
de Souffle' was also a film which was made to rebel against the old style of French cinema and break the conventions of the film industry. In this way,
both of the film directors have something in common with each other.
Much of Wai's work has included themes of time passing and how every human emotion, every material object or specifically tinned food expires.
This reoccurring matter isn't simply an accident but it carries a very significant political message. At the time that Wai made 'ChungKing Express',
Hong Kong was pending to be handed over from the British democratic powers, to the Chinese communist government. This period was very turbulent
for the Hong Kong people as they were in anticipation of a great change, but they didn't know whether it would be negative or positive.

Analysis Of The Movie ' Wim Wenders Places A Digital...
"Wim Wenders places a digital camera everywhere and creates cinema!", I exclaimed after a retrospective of his films at FTII in Pune. A disastrous
strive in one of my practices to emulate the grasp made me realize the way it takes meticulous planning and the satisfactory information of the
cinematic language for two hours to look so casual and natural.One cannot simply place the camera and shoot. And this, to my thoughts, is what ails
maximum of our movies today. Mise–en–Scene is the protoplasm of cinema. Any movie infused with cinema, classical or present day can have its
auteur delineating its Mise–en–Scene. An auteur publicizes his Mise–en–Scene. In its absence, a movie extra often than not is bereft of actual cinema.
For the cause of this newsletter, Mise–en–Scene is the collaboration of various factors of movie making, both aesthetic and technical. it 's far whilst
those factors like art course, costumes, places, lighting, lensing, composition, shot–taking, modifying, sound, tune, actors and the script all synthesize
to create the appropriate cinematic vehicle that fine serves the narrative structure, the characters and the thematic concerns of the maker, that cinema is
unspooled on celluloid. The masters of cinema were classified auteurs when they stamped their Mise–en–Scene onto their movies. From Robert
Bresson, Carl Dreyer, Yasujiro oz., Kenji Mizoguchi, Jean–Luc Goddard, Federico Fellini, Michelangelo Antonioni, Andrei Tarkovsky, Luis Bunuel,
Orson Welles and

What Is The Theme Of The Follow By Wong Kar Wai
In the shortfilm of The Follow by Wong Kar Wai, he used the different slow motion movements during the opening shot of each films. The credits in
The Follow are a pattern of straight lines that move across the screen, cutting into the space. An intense observation of The Follow opening credit
sequence is vital to understanding how The Follow makes the film mirror of opening. At first, the film zooms in the on certain parts of a man face.
The Follow (2001) quoted by BMW films. BMW took place along the major film studios with the production of short films that can unite the talents of
several fields of various high effort crossed. Wong Kar Wai is not denying the author a cinema feature and a mystical, which stands apart from many
mainstream Hong ... Show more content on Helpwriting.net ...
He developed this visual style with legendary film icon, a cinematographer known mostly refer to cameraman. In addition, the stop motion scenes and
the way that colors our oversaturation has come to associate with Wong kar Wai film becomes in
–stock trading their different visual style involving
direct cuts, frames is what amusement in an entire shot in the scene by scene, montage and intense Street camera and foreground which the part of the
picture or scene closest to the

In The Mood For Love
Wong Kar Wai's movies often have a particular style of murmuring, the movie "In the Mood for Love" isn't an exception. Wong focuses on describing
the regret and helplessness repeatedly during the movie time. Yet the background of the movie is based on the period of 1960s in Hong Kong, Wong
keeps highlighting the city Shanghai and leaves many clues of it: the song singing in Shanghainese in the very beginning of the movie; the
Shanghainese land lady, who is willing to sharing her room with the main character Suu, who also moved from Shanghai, and the traditional dress of
Shanghai women: Cheongsam, which Suu wears it all the time during the movie. Wong shows his memory of Shanghai in this movie, reflecting his
nostalgia by those symbols.

The Mood For Love, Urban Space, And Post Modernity
In The Mood For Love, Urban Space, and Post Modernity Wong Kar Wai's Fa Yeung Nin Wa (2000), translated to In The Mood For Love, is an
opening to the new millennium and homage to past genres of filmmaking. Deeply rooted in emotion and nostalgia, In The Mood For Love reads as a
waltz throughout the entirety of the film. Set in 1962 Hong Kong, journalist Chow Mo–wan moves to the city with his wife, who is often away on
business. He befriends a woman who lives in his apartment complex, Su Li–Zhen (referred to Ms. Chan in the film) who mirrors his loneliness and
marital strife. Ironically, Ms. Chan's husband is also often away from business, and both realize their partners are having an affair with their respective
spouses.
Su and Chow begin a fantasy relationship with one another, pretending to be each other's spouse reenacting how their partners could have gotten
together. The protagonists constantly push each other's boundaries of propriety; their combined desire for affection is an extension of the abandonment
they feel from their spouses. Simultaneously a simulacrum of love and a reflection of genuine yearning, they imitate a relationship and inevitably fall
for one another, but fear that they'll stoop to the infidelity of their partners. Wong Kar Wai's film is a statement about individual realities and how
people reflect on an unattainable past, as well as an exploration of physical and emotional confinement that accompany abandonment. In The Mood For
Love is a

Crazed Fruit Essay
What are the foundations of any film? The foundations of a film are nothing technical, but the time and thought that goes into them are what makes
a film. These foundations are the lights, scenery, plot, camera techniques, and of course the actors. What really makes a film is the selection of
actors the director picks. Yes, all the other foundations are important, but the character choice is what makes a film. In Nakahira's film Crazed
Fruit, he choice actress Mie Kitahara to play a youthful young female character named Eri. Eri portrays a character that is a carefree, young,
beautiful female, who does not care who she hurts in order to be happy. In the film Crazed Fruit, Eri is part of a postwar generation called taiyozoku,
meaning Sun Tribe. This generation is described to be young, rich, with plenty of free time. Eri embodies all the traits that Japan's postwar youth
embodied. The only problem is that Japan's new conservative government feared that parents would be absent. This allows them access to excess of
money, leisure time, and time for sexual activity. Before the war there were none of these problems, and the reason for them is because of Western
habits being introduced.... Show more content on Helpwriting.net ...
Eri is married to an older American man who is well off. It may not be her parents, but it gives her access to money. Also, she is a young Japanese
female, who is married to a man who is a work all the time. This leaves her alone and bored, with a lot of leisure time to do what she pleases. Since
Japan's economic prosperity was sufficient, this allowed for the youth to be carefree just like Eri is. In the film Eri has all the free time in the world
to hang at the beach and go to parties. All these actives Eri does, and how she acts is all influenced by Westernization, creating a new generation in
Japan. This making Eri a great example of one taking part in careless and young

The Mood For Love By Kar Wai Wong
In the Mood for Love by Kar–wai Wong
Introduction
The movie "In the Mood for Love" was a Chinese movie which was released in the year 2000 and it was directed by Wong Kar–wai. The movie
premiered at the 2000 Cannes Film festival and it was nominated for Palme d 'Or in the best picture category. The picture stars Maggie Cheung and
Tony Leung in the lead roles. The film revolves around two married couples who were undergoing a tumultuousmarriage as they were not able to find
time for each other and as a resulting the emotional attachment and bonding which is a necessary aspect of a healthy relationship was missing from
their lives. The title of the film might indicate that there would be a lot of steamy intimate love making scenes but contrary to popular perceptions
the film does not have any single intimate scenes. This film was considered to be one of the greatest movies of all time by film critics and it has got a
rating of 4 out of 5 stars in IMDb (Gemser et al. 2007).
Critical Analysis
In the film, two neighbours a man and a women suspect their spouse of extramarital affairs and they both try to investigate the behaviour and activities
of their respective partners in order to find conclusive evidence regarding their infidelity towards their respective partners. In the course of the movie,
the viewers get to see the close bond of friendship and affection which develops over time between both the neighbours (i.e. the man and the woman)
and how they decide to keep their

Hong Kong, By Wong Kar Wai
Hong Kong occupies a unique place in history; it exists as a city with an expiration date. In his films, Wong Kar–wai is known for exploring the idea of
deja desparu–the already disappeared. In the Mood for Love was his first film following the 1997 transition, when the city changed from being a
colony of Great Britain to the Special Administrative Region of China. The film explores the post–1997 mood and experiences a true sense of
nostalgia, not for the past, but for that which could have been. The film follows Mrs. Chan and Mr. Chow as they come to realize that their spouses are
having an affair. In an attempt to process, the two attempt to act out how they imagine the affair must have unfolded. Although feelings start to develop
between the two of them, they keep their relationship platonic–not wanting to stoop to the level of their cheating spouses. Additionally, they must
navigate their neighbors prying and judgmental eyes. The film, hauntingly beautiful as it is, is an allegory for Hong Kong's "national" history and its
relationship with Britain and China–in an attempt to answer the question what will happen to Hong Kong come 2047. Different characters in the film
represent different countries as the film follows Mrs. Chan and Mr. Chow–who together represent Hong Kong–attempt to navigate the complex world
and figure out where they belong. Mrs. Chan and Mr. Chow represent the city of Hong Kong as they struggle to figure out who they are and where the
fit in their

Mrs Chan In The Mood For Love
The main female character, Mrs. Chan appeared in qipao from beginning to the end of the film "In the mood for love". The uses of variety of color
fabrics and fine fit cutting in qipao – high collar and shorter hem, makes Mrs. Chan's symmetry of the body appears more exquisite and the various
colors of qipao incisively reflects the oriental feminine charm and also suggest the rich and exquisite emotional world of the character.
The color of the cheongsam is endowed with the color of emotion, Mrs. Chan's representation of various qipao throughout the film displays her noble
personality, at the same time; the change of color of the qipao in her body indirectly reflects the development of the plot and the change of the
psychological activities.
According to the film, when Mrs. Chan going to work or moving house, she always wear qipao with the color combination of white and black, white
and blue, and pale yellow and white; such plain colors are greatly coordinated with the dark hued surrounding environment. However, there are some
variations, for instances, it appeared several times in the film that Mrs. Chan was carrying lunch boxes to buy rice in a small stall with black qipao,
which suggest her outer and inner loneliness; when Mr. Chan and Mrs. Chan have confirmed that their lover had an extramarital affair, Mrs. Chan went
to the hotel to meet Zhou Muyun (the person she has affair with) with red qipao, a style that always goes against her and contrasts sharply with the
plain color qipao that she always liked, which is actually a metaphor for the emergence of love between them. Mrs. Chan took advantage of the
landlord's absence to Zhou Muyun's home with yellow qipao, symbolizing the pleasant and warm atmosphere around them; and when Mrs. Chan
decided to run away with Zhou Muyun, the qipao on her body turned green – green is vital and symbolic of life and it is a metaphor of Mrs. Chan make
up her mind to start a new life with Zhou Muyun. However, when she arrived at the hotel, Zhou Muyun had gone, the hope representing by the green
against the backdrop of red curtains, red beds, dark red walls, influence the audiences to feel a sense of disappointment.
Color is the lyric symbol of film, which can convey and

Forbidden Love : Shifting Gender Roles And East Asian Cinema
Forbidden Love: Shifting Gender Roles and East Asian Cinema
The film world is often known for borrowing content from the actual events that occur on Earth. Popular genres such as documentaries, historical
dramas, and war films generally draw directly from real–life events, even if the characters or dialogue may be imaginary. However, these realistic
pictures are not the only way that real–life leaks into the on–screen world – filmmakers and producers often borrow from contemporary issues such as
incarceration, addiction, human trafficking, etc. to draw attention to often ignored topics. Directors Wong Kar–wai (In the Mood for Love) and Park
Chan–wook (The Handmaiden) are two such directors that have highlighted gender issues in East Asia ... Show more content on Helpwriting.net ...
While Li–zhen and Mo–wan were not engaging in any scandalous activity, the threat of them just being discovered together forces the two to wait in
the room, scarcely making a sound. Li–zhen vocalizes her fears throughout the film, constantly reminding Mo–wan that they shouldn't be seen together
because their neighbors would talk. True to Wong Kar–wai's artistic style, an evenly panning camera coupled with the reflection of the dresser mirror
plays with the viewer's perception of the space – although the room is cramped, the composition of this shot conveys a sense of the strained, awkward
emotional distance between the characters in the intimate space. Furthermore, Wong Kar–wai utilizes the "highly sexual and highly repressed" qipao
(Brunette) in the mahjong scene; Li–zhen is clad in a blush, form fitting qipao true to her costuming throughout the film. While the qipao's shape and
color lends it an almost erotic nature, Li–zhen's stiff movements turn the gown into a metaphorical straightjacket. Li–zhen is a beautiful young woman
with a desire to go out and enjoy her life, yet she is restrained by an unfaithful husband that is never home and the opinions of her neighbors. Wong
Kar–wai's utilization of mise–en–scene presents the almost tragic story of the two lovers, whose emotions are restricted by the social boundaries they
break.
Similar to Wong Kar–wai, director Park Chan–wook centered his 2016 film The Handmaiden around forbidden love, focusing on complex rhythms of

Broadwell Narrative Structure
The Narration of the film doesn't really fit in to Broadwell's narrative structure; it has its own meaning of structure. The way movie and its plot have
been written it completely challenges the structure of a classical Hollywood movie. The only common factor here was the "non–diegetic elements" of
the movie, the background score. What we can also see in a conventional classical Hollywood film.
According to Broadwell feature of Narrative structure, a film must have "Chain of events" which will be connected in a cause–effect relationship
occurring in space and time. In a classical Hollywood film the common phenomenon will be having a protagonist who will have no flaws, will have a
pretty much made up, and concrete personality. They generally

Analysis Of The Mood For Love
Love is beautiful, it's breathtaking, it's heartbreaking. In the Mood for Love brilliantly emphasizes the many faces of love, and what the film lacks in
dialogue it compensates with its visual language. The film introduces us to suave newspaper editor Chow–Mo Wan and the elegant Mrs. Chan who
have moved into neighboring apartments with their respective spouses. Their spouses are often away on business trips leaving the two alone but it
doesn't take long for them to realize these trips have been home to a cruel affair. Mr. Chow and Mrs. Chan find comfort in one another by mimicking
the other's spouse to investigate how and why the affair might have begun. However, the reenactment quickly becomes reality as the two unexpectedly
fall in love. Unfortunately, they can never pursue this romance because doing so would make them no better than those who had caused them such pain
and loss. Director Wong Kar–Wai immerses us into this world of loneliness, pain and forbidden love creating beautiful cinematography reflected
through camera work, dГ©cor, WORDSKLSDKAJSKD
This sequence occurs halfway through the movie immediately following a brief conversation between Mrs. Chan and Mr. Chow. In shot 1, the
camera is behind Mrs. Chan like usual and displays a long, narrow, dimly lit corridor painted red and dressed in velvet curtains. She walks away from
the closed door wearing a slim, red coat and black heels. Mrs. Chan slowly walks toward the end of the hall as the camera goes the opposite

The Auteur Theory And Tragic Love
1.Introduction:
The Auteur Theory is suggesting about which the director should be therefore regarded as an auteur, which means that how the director presenting
their mind into the movie. It can mainly divide into how the directors well–using the film technology, how the audience are able to identify the director
personality and style, which serve as a signature, and the interior meaning in the film. For Auteur Theory, Francois Truffaut (1954) suggested that a
good director exerts such a distinctive style or promotes such a consistent theme that his or her influence is unmistakable in the body of his or her
work. Later on, Andrew Sarris have made a concrete definition in "Notes on the Auteur Theory" (1962) suggested that "Over a group of films must
exhibit recurrent characteristics of style". ... Show more content on Helpwriting.net ...
"Time" and "Tragic Love" are the main motif of Wong Kar Wai's series of film, with the narrative filming technique he used to express with the
feeling of loneliness, rejection, loss and unrequited love. In this paper, we would based on the movie "Days of being wild" (1990) and "Chungking
express" (1994) to discuss the degree of consistency of his uniquely personal point of view of love and time expressed through the characters, filming
techniques, story theme and visual language.
2.Wong's obsession on loss and unrequited

Anna Wong Research Paper

Recommended

Recommended

More Related Content

More from Tracy Medellin

More from Tracy Medellin (11)

Recently uploaded

Recently uploaded (20)

Anna Wong Research Paper