Cameron, Allan. “Trajectories of Identification: Travel and Global Culture in the Films of Wong Kar-wai.” Jump Cut, 47 (2007). Accessed at: http://www.ejumpcut.org/archive/jc49.2007/wongKarWai/.
Cheng, Sinkwan. “Comparative Philosophies of Tragedy: Buddhism, Lacan, and Ashes of Time.” Mln 123, no. 5 (2008): 1163–87.
Choi, Heawon. “Oblivion beyond Forgetting: A Buddhist Reflection on Suffering in Ashes of Time.” Journal of Religion and Film 14, no. 2 (October 2010). Accessed at: http://www.unomaha.edu/jrf/vol14.no2/ChoiAshes_Time.html.
Chow, Rey. “Nostalgia of the New Wave: Structure in Wong Kar-Wai’s Happy Together.” Camera Obscura: A Journal of Feminism, Culture, and Media Studies 42 (1999): 31–48.
———. “Sentimental Returns: On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong Kar-Wai.” New Literary History 33 no. 4 (2002): 639–54. (Also in Reading Chinese Transnationalisms: Society, Literature, Film, edited by Maria Ng and Phillip Holden, 173–87. Hong Kong: Hong Kong University Press, 2006.)
Ciment, Michel. Film World: Interviews with Cinema’s Leading Directors, trans. Julie Rose. (Chapter 13 “Wong Kar-wai”) Oxford: Berg, 2009.
Crompton, Nils. “Towards a Postmodern Avant-Garde: The Temporality of the Refrain in Three Films of Wong Kar-Wai.” Metro Magazine: Media & Education Magazine 142 (2005): 52.
Deppman, Hsiu-Chuang. Adapted for the Screen: The Cultural Politics of Modern Chinese Fiction and Film. Honolulu: University of Hawaii Press, 2010. (Chapter 4 “Liu Yichang and Wong Kar-wai: The Class Trap in In the Mood for Love”).
Dumas, Raechel. “A Look at Hong Kong’s New Wave Sentimentality: Rey Chow’s Reconceptualization of Nostalgia and the Allegorical Implications of the Image in Wong Kar-Wai’s In The Mood For Love.” International Journal of the Humanities 5, no. 4 (2007): 135–39.
Geuens, Jean-Pierre. “The Space of Production.” Quarterly Review of Film and Video 24, no. 5 (2007): 411–20.
Greenhalgh, Cathy. “How Cinematography Creates Meaning in Happy Together.” In Style and Meaning: Studies in the Detailed Analysis of Film, edited by John Gibbs and Douglas Pye, 195–213. Manchester, UK: Manchester University Press, 2005.
Huang, Tsung-yi Michelle. “Hong Kong Blue: Flâneurie with the Camera’s Eye in a Phantasmagoric Global City.” Journal of Narrative Theory 30, no. 3 (2000): 385–402.
Hughes-d’Aeth, Tony. “Psychoanalysis and the Scene of Love: Lars and the Real Girl, In the Mood for Love, and Mulholland Drive.” Film & History: An Interdisciplinary Journal of Film and Television Studies 43, no. 2 (Fall 2013): 17–33.
Kraicer, Shelly. “Tracking the Elusive Wong Kar-wai.” Cinéaste 30, no. 4 (Fall 2005): 14–15.
Law, Jo. “Wong Kar-Wai’s Cinema.” Metro 126 (2001): 92.
———. “Years in Bloom.” Metro 133 (2002): 198.
Lee, Vivian P. Y. Hong Kong Cinema since 1997: The Post-nostalgic Imagination. New York: Palgrave Macmillan, 2009. (Chapter 1 “Post-nostalgia: In the Mood for Love and 2046”).
Leung, Helen Hok-sze. “Queerscapes in Contemporary Hong Kong Cinema.” Positions 9, no. 2 (2001): 423–47.
Lim, Dennis. “Wong Kar-wai, Kung Fu Auteur.” New York Times (February 16, 2014). Accessed at http://artsbeat.blogs.nytimes.com/2013/02/16/berlin-film-festival-wong-kar-wai-kung-fu-auteur/?module=Search&mabReward=relbias%3Ar.
Mazierska, Ewa, and Laura Rascaroli. “Trapped in the Present: Time in the Films of Wong Kar-Wai.” Film Criticism 25, no. 2 (2000): 2–20.
Morrison, Susan. “John Woo, Wong Kar-wai, and Me: An Ethnographic Meditation.” Cineaction 36 (1996).
Ng, Konrad, Gar-Yeu. “Hong Kong Cinema and Chineseness: The Palimpsestic Male Bodies of Wong Kar-wai.” In Mysterious Skin: Male Bodies in Contemporary Cinema, edited by Santiago Fouz-Hernández, 43–58. London: I.B. Tauris, 2009.
Nochimson, Martha. “Beautiful Resistance: The Early Films of Wong Kar-wai.” Cinéaste 30, no. 4 (2005): 9–13.
———. World on Film: An Introduction. Malden, MA: Wiley-Blackwell, 2010. (Chapter 9 “Hong Kong: Wong Kar-wai, Now You See It”)
Ong, Han. “Wong Kar-wai.” BOMB 62 (Winter 1998): 48–54.
Pang, Yi-ping. “Happy Together: Let’s Be Happy Together.” City Entertainment 473 (May 29, 1997): 41–44.
Perks, Sarah. “My Noir: Ambiguity, Ambivalence, and Alienation in 1990s International Noir.” Film International 11, no. 5 (2013): 47–51.
Phathanavirangoon, Raymond. “Interview at Ashes of Time Redux.” Toronto International Film Festival, Ryerson Theatre (September 8, 2008).
Rayns, Tony. “Poet of Time.” Sight and Sound, 5, no. 9 (September 1995): 12–16.
———. “In the Mood for Love.” Sight and Sound, 10, no. 8 (August, 2000): 14–17.
Reynaud, Berenice. “Entretien avec Wong Kar-wai.” Cahiers du cinéma 490 (April 1995): 37–39.
Rohter, Larry. “Wong Kar-wai on The Grandmaster.” New York Times (July 10, 2014). Accessed at http://carpetbagger.blogs.nytimes.com/2014/01/10/wong-kar-wai-on-the-grandmaster/?_php=true&_type=blogs&module=Search&mabReward=relbias%3Ar&_r=0.
Tsui, Clarence. “Berlin 2013: Wong Kar-wai on The Grandmaster.” Hollywood Reporter (February 6, 2013). Accessed at http://www.hollywoodreporter.com/news/berlin-2013-wong-kar-wai-418839.
Tsui, Curtis K. “Subjective Culture and History: The Ethnographic Cinema of Wong Kar-wai.” Asian Cinema 7, no.2 (1995): 93–124.
Udden, James. “The Stubborn Persistence of the Local in Wong Kar-Wai.” Post Script: Essays in Film and the Humanities 25, no. 2 (2006): 67–88.
Wilson, Flannery. “Viewing Sinophone Cinema through a French Theoretical Lens: Wong Kar-wai’s In the Mood for Love and 2046 and Deleuze’s Cinema.” Modern Chinese Literature and Culture 21, no. 1 (Spring 2009): 141–73.
Yeh, Emilie Yueh-yu, and Lake Wang Hu. “Transcultural Sounds: Music, Identity, and the Cinema of Wong Kar-wai.” Asian Cinema 19, no.1 (2008): 32–46.
VIDEOS
Kwan, Pun-leung, and Amos Lee. From Buenos Aires Zero Degree, Hong Kong: Jet Tone and Block 2, 1999.
The Road to the Grandmaster. [Zong Shi Zhi Lu]. Hong Kong: Jet Tone, 2012. Accessed at https://www.youtube.com/watch?v=TI17_Ku7CUM.
Wong Kar-wai vs. Kevin Tsai. Eros DVD, Taipei: Jet Tone, 2005.
Index
The index that appeared in the print version of this title was intentionally removed from the eBook. Please use the search function on your eReading device to search for terms of interest. For your reference, the terms that appear in the print index are listed below.
Abe, Kobo; The Woman in the Dunes
Acting; improvisations
Action scenes. See also Fight scenes
Allen, Woody
Always Good Film
Ambiguity
Antonioni, Michelangelo; The Eclipse
Architecture: Angkor Wat; Buddhist; Chinese; Greek; Roman
Argentina
Art direction. See also Chang, William Suk-ping
Art film (art house film). See also Commercial movies; Independent film productions
As Tears Go By
Ashes of Time
Ashes of Time Redux
Audience response; international; local
Auteurs
Avid (editing)
Balzac, Honoré de, La Comédie Humaine
Bangkok, Thailand
Beatles, The
Beijing Olympics
Bellini, Vincenzo, Norma
Bertolucci, Bernardo
Betrayal
Block, Lawrence
Blue Kite, The
Body language
Book of Jin
Borges, Jorge Luis
Box office; domestic; overseas
Bresson, Robert
Buenos Aires. See Argentina
Buraiha (Decadent School). See also Dazai, Osamu
Bush, George W.
California Dreaming
Cambodia. See Architecture: Angkor Wat
Camus, Albert; The Stra
nger
Canton: ethnic groups in; films from; as language
Carax, Leos
Censorship
Cha, Louis. See Jin Yong
Chan, Frankie
Chang, Cheh
Chang, Chen
Chang, Ta-chun
Chang, William Suk-ping; as art director; as editor
Chaplin, Charlie
Characters: emotions of; expressions of; names of; one-dimensional; personalities; thoughts of
Cheung, Alex Kwok-ming
Cheung, Jacky
Cheung, Leslie
Cheung, Mabel
Cheung, Maggie
Chinatown
Chinese history: Jin dynasty; Liao dynasty; Qing dynasty; Republican era; Song dynasty; Tang dynasty
Choreography. See also Fight scenes
Chow, Valerie
Chungking Express
Chungking Mansion
Cinema City (production company)
Cinematography; close-ups; handheld cameras; lighting; single cameras; ultra-wide angle lens
City dwellers
Cole, Nat King
Comic Con
Comics
Commercial movies
Communication
Compensation
Coppola, Francis Ford
Copyright
Countrysides
Crew members
Criterion Collection
Critics; comments from; Hong Kong; international. See also Film reviews
Cultural Revolution
Dancehall girls
Dark glasses
Days of Being Wild; unproduced sequel to
Dazai, Osamu; No Longer Human
De Gaulle, Charles
De Niro, Robert
De Sica, Vittorio
Deconstructionism
Delon, Alain
Dire Straits, “Private Investigations”
Disappearances
Distance; between characters; between the director and the audience; psychological
Distribution
Dong Jie
Doyle, Christopher; working relationship with Wong
Dubbing
Editing. See Film editing
Eros. See Hand, The
Existentialism
Fallen Angels
Fassbinder, Rainer Werner
Father, Wong Kar-wai’s
Fifth Generation (Chinese filmmakers). See also specific filmmakers
Fight scenes
Film festivals; Berlin; Cannes; Toronto; Venice
Film versions, varying; 3D; Chinatown; Europe; Hong Kong; Mainland China; North America; premiere; Taiwanese; VHS
Films: budgets; business of; editing; education and training; independent productions; markets; political; reviews; titles
Fin de siècle
Flynn, Errol
Fong, Allen Yuk-ping
Footage
Ford, John, The Searchers
Forrest Gump
Frame rates
Frears, Stephen
French New Wave
Fuji film
Gable, Clark
Galasso, Michael
Genres: action; animation; comedy; experimental; film noir; gangster; kung fu and wuxia; melodrama; period; pornography; road movie; sci-fi
Godard, Jean-Luc; Little Soldier
Gold Finch restaurant
Golden Harvest
Gong, Li
Grandmaster, The
Graphic design
Greene, Graham
Gu, Long
Guangdong. See also Canton
Guangxi
Guangzhou
Hai Pai. See Shanghai: style
Half a Lifetime Romance
Hand, The
Hanrahan, Kip
Happy endings
Happy Together
Hemingway, Ernest
Hero for a Day (unproduced)
Hitchcock, Alfred
Hollywood films; 1950s
Homosexuality
Hong Kong; 1930s; 1960s; 1970s; culture; return to China; studio system
Hong Kong Film Awards
Hong Kong Film Critics Society Awards
Hong Kong New Wave
Hong Kong Polytechnic
Hong Kong Stadium
Hou, Hsiao-hsien; A City of Sadness; Daughter of the Nile; The Puppetmaster
Hu, King
Hui, Ann
Hung, Sammo Kam-po
Hung Huang
Iguazu Falls
Immigration
In the Mood for Love
In the Mood for Love 2001
Intellectuals. See also specific writers
Ip Man
Isolation
Itami, Juzo
Jiang Wen
Jin Yong; The Deer and the Cauldron; The Heaven Sword and Dragon Saber; The Legend of Eagle-shooting Heroes (The Legend of Condor Heroes)
Jones, Norah
Judge Dredd
Kafka, Franz
Kam Kwok-leung
Kaneshiro, Takeshi
Kawabata, Yasunari; The House of the Sleeping Beauties; Snow Country
Khondji, Darius
Kidman, Nicole
Kieslowski, Krzysztof; The Double Life of Veronique; Three Colors: Blue, White, Red
Kimura, Takuya
Kowloon
Kung fu. See Genres: kung fu and wuxia; Martial arts
Kurosawa, Akira
Kwan, Stanley
Lady from Shanghai (unproduced)
Lai, Leon
Lan Kwai Fong
Language barriers
Lao She
Lau, Andy
Lau, Carina
Lau, Jeff Chun-wai
Lau, Kar-leung
Lau, Andrew Wai-keung
Law, Clara
Law, Jude
Lee, Ang; Crouching Tiger, Hidden Dragon; Lust, Caution
Lee, Bruce
Lee, Mark Ping-bing
Leone, Sergio, Once Upon a Time in America
Leung, Tony Chiu-wai
Leung, Tony Kar-fai
Li Yuchun
Liaoning Street night market
Lin, Brigitte
Literature; classical Chinese; English; French; Hong Kong; Japanese; Latin American; Modern Chinese; North American; Russian. See also specific writers and titles
Liu Na’ou
Liu Yichang; The Alcoholic; Intersection (têtebêche)
Lizi. See Mianzi and lizi
Los Angeles, California
Love relationships
Lu, Xun; Dawn Blossoms Plucked at Dusk
Lucas, George; Star Wars
Lynch, David; Twin Peaks
Madama Butterfly (opera)
Man, Alex
Mandarin films
Márquez, Gabriel García; Chronicle of a Death Foretold; One Hundred Years of Solitude
Martial arts; Bagua Palm; Baji Quan (Baji Fist); as sport; Tai Chi; Wing Chun. See also Genres: kung fu and wuxia
Matsuda, Yusaku
McCarey, Leo, Elle et Lui
Media; Greater Chinese; Hong Kong
Mei Ah (distributor)
Memory
Memphis, Tennessee
Mianzi and lizi
Mise en scène
Mishima, Yukio
Mok, Karen
Mong Kok
Mong Kok Carmen. See As Tears Go By; Film titles
Mood
Morita, Yoshimitsu, And Then
Morricone, Ennio
Mother, Wong Kar-wai’s
Mu Shiying; Major Kuga; A Platinum Statue of the Female Body
Murakami, Haruki; Pinball, 1973
Music; Latin American; original film scores; popular music; ready-made; rondo; rumba; tango; waltz. See also Opera
Music composers. See also specific musicians
Muzha Line, Taipei
My Blueberry Nights
Mysterious Box of Lunar Palace, The. See also Thief of Bagdad, The
Neosensualism: Shanghai; Japanese. See
also specific writers and titles
Nevada
New York City
Nostalgia
Numbers
Opera; Cantonese; Italian; Peking; Pingju. See also specific titles
Ozu, Yasujirō
Pan, Rebecca
Paradis Film
Philippines
Photography
Piazzolla, Astor
Portman, Natalie
Postmodernism
Preservation; of history
Presley, Elvis
Pressure; from self-expectations
Production process: deadlines; length; preproduction; production; postproduction
Puig, Manuel; Betrayed by Rita Hayworth; The Buenos Aires Affair; Heartbreak Tango; Kiss of the Spider Woman
Qipao (Chinese dress)
Queen’s Café
Radio; BBC; drama
Radio Television Hong Kong (RTHK)
Ray, Satyajit
Rebel Without a Cause. See also Days of Being Wild; Film titles
Reis, Michele
Rejection, characters’ fear of
Resistance against Japan (Second Sino-Japanese War)
Revenge
Rhythm
Rohmer, Éric
Romance of the Three Kingdoms
Rooftops
Rumors. See also Media
Russian Revolution
Sawada, Kenji
Schedules: actors; screening
Scoring. See Music: original film scores
Scorsese, Martin; The Age of Innocence; Mean Streets
Screenplays
Scriptwriter, Wong Kar-wai as
Second Wave of Hong Kong Cinema. See also Hong Kong New Wave
Seventh Voyage of Sinbad
Sexiness
Shanghai; style (Hai Pai)
Shanghainese: as ethnic group; as language; in Hong Kong
Shaw Brothers studio
Shi Jianqiao
Shi Zhecun: The General’s Head; Spring Sun; The Taxi Dancer in the Dusk
Shooting film: in China; on location; at night; in a small space
Singapore
Social class
Space; as a character
Special effects
Spielberg, Steven
Steenbeck
Steinbeck, John
Story about Food, A (unproduced)
Storytelling; characters; cue; dialogue; ending; flashback; fragments; interior monologue and voice-over; narrative; nonlinear; plot; story outline; structure; tempo
Strathairn, David
Summer in Beijing (unproduced)
Suzuki, Seijun, Yumeji
Taipei
Taiwan New Wave (Taiwan New Cinema). See also specific filmmakers
Tam, Patrick Ka-ming; Final Victory
Tang, Alan Kwong-wing
Tarkovsky, Andrei, Nostalgia
Television Broadcasts Limited (TVB)
Wong Kar-wai Page 26