Wkw The Cinema Of Wong Kar Wai

The long-awaited retrospective from the internationally renowned film director celebrated for his visually lush and atmospheric films. Wong Kar Wai is known for his romantic and stylish films that explore—in saturated, cinematic scenes—themes of love, longing, and the burden of memory. His style reveals a fascination with mood and texture, and a sense of place figures prominently. In this volume, the first on his entire body of work, Wong Kar Wai and writer John Powers explore Wong’s complete oeuvre in the locations of some of his most famous scenes. The book is structured as six conversations between Powers and Wong (each in a different locale), including the restaurant where he shot In the Mood for Love and the snack bar where he shot Chungking Express. Discussing each of Wong’s eleven films, the conversations also explore Wong’s trademark themes of time, nostalgia, and beauty, and their roots in his personal life. This first book by Wong Kar Wai, lavishly illustrated with more than 250 photographs and film stills and featuring an opening critical essay by Powers, WKW: The Cinema of Wong Kar Wei is as evocative as walking into one of Wong’s lush films.

Called the leading heir to the great directors of post-WWII Europe and lavished with awards, Wong Kar-wai has redefined perceptions of Hong Kong's film industry. Wong's visual brilliance and emphasis on atmosphere over action have set him apart from peers while earning him an admiring international audience. In the Mood for Love regularly appears on lists of the twenty-first century's greatest films while critics and filmgoers recognize works like Chungking Express and Happy Together as modern classics. Peter Brunette describes the ways in which Wong's supremely haunting visual films create a new form of cinema by telling a story with stunning, suggestive visual images and audio tracks rather than character, dialogue, and plot. As he shows, Wong's early background in genre film offers fascinating insights on his more studied later works. He also delves into Wong's perennial themes of time, love, and loss and examines the political implications of his films, especially concerning the handover of former British colony Hong Kong to the People's Republic of China.

Set in Hong Kong, Singapore and Cambodia in the 1960s, Wong Kar Wai's In the Mood for Love (2000) is a film that luxuriates in the feeling of being in love – without ever turning into a love story. Its central characters, Mr Chow and Mrs Chan, are tenants in next-door apartments in Hong Kong who discover that their respective spouses are having an affair. Both of them have promiscuous colleagues at work, but they struggle to make sense of their partners' behaviour – and to control their growing feelings for each other. Hailed by the press as 'the consummate unconsummated love story of the new millennium', this film about desire repressed has become a firmly established classic of the twenty-first century. In his sharp and revealing analysis of In the Mood for Love, Tony Rayns draws on his considerable expertise in East Asian cinema and on his proximity to Wong Kar Wai and his colleagues at Jet Tone during the film's long and complicated genesis. He delivers a personal and highly original commentary on the film and its production, complete with privileged insights into Wong's idiosyncratic working methods and influences. The book also places the film in the context of Wong's other work, with sidelights on its place in Hong Kong cinema as a whole. This special edition features original cover artwork by Jimmy Turrell.

This study of Hong Kong cult director Wong Kar-wai provides an overview of his career and in-depth analysis of his seven feature films to date. Teo probes Wong's cinematic and literary influences - from Martin Scorsese to Haruki Murakami - yet shows how Wong transcends them all.

Fans and critics alike perceive Wong Kar-wai (b. 1958) as an enigma. His dark glasses, his nonlinear narrations, and his high expectations for actors all contribute to an assumption that he only makes art for a few high-brow critics. However, Wong's interviews show this Hong Kong auteur is candid about the art of filmmaking, even surprising his interlocutors by suggesting his films are commercial and made for a popular audience. Wong's achievements nevertheless feel like art-house cinema. His third film, Chungking Express, introduced him to a global audience captivated by the quick and quirky editing style. His Cannes award-winning films Happy Together and In the Mood for Love confirmed an audience beyond the greater Chinese market. His latest film, The Grandmaster, depicts the life of a kung fu master by breaking away from the martial arts genre. In each of these films, Wong Kar-wai's signature style--experimental, emotive, character-driven, and timeless--remains apparent throughout. This volume includes interviews that appear in English for the first time, including some that appeared in Hong Kong magazines now out of print. The interviews cover every feature film from Wong's debut As Tears Go By to his 2013 The Grandmaster.

This companion to the New York Times bestselling book The Wes Anderson Collection takes readers behind the scenes of the Oscar®-winning film The Grand Budapest Hotel with a series of interviews between writer/director Wes Anderson and movie/television critic Matt Zoller Seitz. Learn all about the film's conception, hear personal anecdotes from the set, and explore the wide variety of sources that inspired the screenplay and imagery—from author Stefan Zweig to filmmaker Ernst Lubitsch to photochrom landscapes of turn-of-the-century Middle Europe. Also inside are interviews with costume designer Milena Canonero, composer Alexandre Desplat, lead actor Ralph Fiennes, production designer Adam Stockhausen, and cinematographer Robert Yeoman; essays by film critics Ali Arikan and Steven Boone, film theorist and historian David Bordwell, music critic Olivia Collette, and style and costume consultant Christopher Laverty; and an introduction by playwright Anne Washburn. Previously unpublished production photos, artwork, and ephemera illustrate each essay and interview. The Wes Anderson Collection: The Grand Budapest Hotel stays true to Seitz's previous book on Anderson's first seven feature films,The Wes Anderson Collection, with an artful, meticulous design and playful, original illustrations that capture the spirit of Anderson's inimitable aesthetic. Together, they offer a complete overview of Anderson's filmography to date. Praise for the film, The Grand Budapest Hotel: Four Academy Awards®, including Costume Design, Music - Original Score, and Production Design; Nine Academy Award nominations, including Best Picture, Directing, and Writing - Original Screenplay; Best Film - Musical or Comedy, Golden Globe Awards; Best Original Screenplay, BAFTA, WGA, NYFCC, and LAFCA Awards Praise for the book, The Wes Anderson Collection: “The Wes Anderson Collection comes as close as a book can to reading like a Wes Anderson film. The design is meticulously crafted, with gorgeous full-page photos and touches . . .” —Eric Thurm, The A.V. Club Also available from Matt Zoller Seitz: Mad Men Carousel, The Oliver Stone Experience, The Wes Anderson Collection: Bad Dads, andThe Wes Anderson Collection.

The widely acclaimed films of Wong Kar-wai are characterized by their sumptuous yet complex visual and sonic style. This study of Wong’s filmmaking techniques uses a poetics approach to examine how form, music, narration, characterization, genre, and other artistic elements work together to produce certain effects on audiences. Bettinson argues that Wong’s films are permeated by an aesthetic of sensuousness and “disturbance” achieved through techniques such as narrative interruptions, facial masking, opaque cuts, and other complex strategies. The effect is to jolt the viewer out of complete aesthetic absorption. Each of the chapters focuses on a single aspect of Wong’s filmmaking. The book also discusses Wong’s influence on other filmmakers in Hong Kong and around the world. The Sensuous Cinema of Wong Kar-wai will appeal to all who are interested in authorship and aesthetics in film studies, to scholars in Asian studies, media and cultural studies, and to anyone with an interest in Hong Kong cinema in general, and Wong’s films in particular. “In this carefully written study, Gary Bettinson offers a critical assessment not only of the stylistic features of Wong Kar-wai’s films but also of the scholarship that has developed around them. Arguing against the facile culturalism that tends to dominate such scholarship, this book does full justice to Wong’s cinematic methods in a series of impressively well-informed and informative readings.” —Rey Chow, Duke University

First monograph on the Hong Kong filmmaker, an important figure in contemporary cinema regarded as one of the best filmmakers of his generation Wong Kar-wai films the flow of contemporary images from the inside, hones them to an almost dizzying point of seductiveness, but also addresses the damage they do. Individuals are alone, orphaned, unfit for love, unable to exert the slightest influence on reality. His films works like prisms--collecting the luminous reflections of cityscapes and the somber psyches of his characters, diffracting them in the brightly colored facets of a video clip. There remains what is the true measure of any great filmmaker: a perfectly articulated vision of the state of the world, here and today. Directors influenced by Wong include Quentin Tarantino, Sofia Coppola, Tsui Hark and Barry Jenkins. Wong Kar-wai (born 1956) is an award-winning Hong Kong filmmaker and producer. Notable films include Days of Being Wild, Chungking Express, In the Mood for Love, 2046, My Blueberry Nights and The Grandmaster. In May 2018, he was awarded a Doctor of Arts degree by Harvard University.