DOCSLIB.ORG

Betty Oi-Kei Pun

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Betty Oi-Kei Pun Intersemiosis in Film: A Metafunctional and Multimodal Exploration of Colour and Sound in the Films of Wong Kar-wai Betty Oi-Kei Pun A thesis submitted to the University of New South Wales In fulfilment of the requirements for the degree of Doctor of Philosophy Department of Chinese Studies and Department of Linguistics School of Modern Language Studies Faculty of Arts and Social Sciences The University of New South Wales Australia 2005 ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project’s design and conception in style, presentation and linguistic expression is acknowledged.’ Signed ……………………………………………………………… i Abstract Intersemiosis in Film: A Metafunctional and Multimodal Exploration of Colour and Sound in the Films of Wong Kar-wai This study explores two stylistic features in the films of contemporary Hong Kong film-maker Wong Kar-wai: colour and sound. In particular, it focuses on how transitions in colour palettes (e.g. from a natural colour spectrum to a monochromatic effect of black-and-white) and specific sound resources (such as silence) function as important semiotic resources in the films, even when they appear to create a disjunctive effect. The study draws on two perspectives on communication to explore film. The first is the metafunctional hypothesis of Systemic-Functional Linguistics, which theorises that the communicative dimensions of texts can be explored from three simultaneous ‘macro-functions’: the ideational, the interpersonal and the textual metafunction. The second is multimodal communication, which stresses that multiple semiotic resources are used for meaning-making purposes and that meanings created multimodally are multiplicative in essence. From this theoretical basis the study aims to illuminate two inter-related objectives. First, that the meaning potentials of colour transition and sound are construed and enabled by the co-ordinations of meanings across different co-present semiotic resources – known as intersemiosis in the study. Second, that the semiotic capacities of the two resources can be usefully explored from a functional perspective. Drawing especially the notions of intersemiosis and resemiotisation the study shows that colour transition and sound are multivalent resources in Wong’s films. In other words, their meaning potentials are metafunctionally complex and are never static. The thesis argues that colour transition and sound should not be seen as having ‘a’ meaning, but rather, that it is the semiotic complexities among the co-patterned resources that shape the meaning-making potential of the resources, and in turn, help contribute meaning potentials to the films. ii Acknowledgements The completion of this thesis is a rewarding and challenging journey, and many debts are incurred during the course of the journey. I would like to take this opportunity to express my sincere gratitude and thanks to the following people who have contributed to the completion of this thesis. First and foremost, my deepest gratitude to my supervisors, Dr Louise J. Ravelli and Dr Jon Eugene von Kowallis, for their invaluable advice, encouragement, support and patience. This thesis would not have been possible without their supportive and critical readings of various drafts of the thesis. I am also indebted to Dr Teri Silvio for her insightful advice and guidance in nurturing my intellectual curiosity during the early stage of the thesis. I also owe a special thanks to Professor Philip Bell and Associate Professor Rick Iedema, whose support and helpful input helps me to refine the focus of my thesis. Thanks are also due to the financial support and research facilities that are provided by the School of Modern Language Studies, UNSW. Heartfelt thanks are also due to the following people: to Dr Chris Cleirigh and Dr Maree Stenglin, for their stimulating discussions and ideas in the multimodal discourse workshop; to Emilia Djonov, for her enduring friendship and support, and to Atanas Djonov, for his unfailing patience and generosity with his time (especially during my last mad dash to the finish line in the final stage of the thesis) in helping to prepare the film clips; to Aunty Sandy and Uncle Jeffrey, for their encouragement and many sumptuous meals during periods of tight deadlines; to Chye Hong Lim, for her friendship and generosity, and for keeping motivation with humour, inspirational philosophical musings and many mouth-watering meals; to Benjamin Broad, for his friendship and expertise in the preparation and scanning of diagrams and illustrations; and to Patricia Chung and Florence Yip, for their friendship and help in finding books from Hong Kong. Finally, my sincerest and deepest gratitude to my parents, as this thesis would not have been possible without the support and freedom they have given me to iii pursue my interests. To my father, for the encouragement and belief he gives me, as well as his many words of wisdom about living and learning; to my mother, for the sense of discipline she has instilled in me – without which, I would not have gotten through the enormous task of the thesis in relative calm. iv Table of Contents Abstract .......................................................................................................................ii Acknowledgements....................................................................................................iii List of Figures ..........................................................................................................viii List of Tables...............................................................................................................x Chapter 1 Introduction........................................................................................11 1.1 Orientation.......................................................................................................11 1.2 The work of Wong Kar-wai: An introduction .............................................14 1.2.1 The films of Wong Kar-wai and their characteristics ............................14 1.2.2 Critical discussions of the films of Wong Kar-wai ................................17 1.2.3 Further observations of colour and sound in Wong’s films ...................26 1.2.4 Summary.................................................................................................33 1.3 Objectives and scope of the study..................................................................34 1.4 An overview of the study ................................................................................42 Chapter 2 Theoretical Foundations....................................................................44 2.1 Key principles of Systemic-Functional Linguistic Theory..........................45 2.1.1 Language and text...................................................................................45 2.1.2 Choice and meaning ...............................................................................46 2.1.3 Language and context.............................................................................51 2.1.4 Metafunction...........................................................................................54 2.1.5 Summary of the SFL approach to language ...........................................58 2.2 Theoretical models for non-verbal communication.....................................59 2.2.1 The notion of multimodality...................................................................60 2.2.2 SFL-inspired studies of non-verbal communication ..............................63 2.2.2.1 Metafunctional models for non-verbal semiotic modalities....................63 2.2.2.2 Kress and van Leeuwen’s model of visual analysis ................................65 2.2.3 Summary.................................................................................................77 2.3 Film semiotics and SFL-inspired models of film analysis ...........................77 2.3.1 Semiotics and its influences in film analysis..........................................78 2.3.2 SFL-inspired models for film analysis ...................................................83 2.4 Key analytical concepts from SFL: foregrounding, resemiotisation and cohesion .....................................................................................................................92 2.4.1 Foregrounding ........................................................................................92 2.4.2 Resemiotisation ......................................................................................95 2.4.3 A re-interpretation of the notion of resemiotisation...............................97 2.4.4 Cohesion...............................................................................................102 2.5 Conclusion to Chapter 2...............................................................................106 Chapter 3 Selection and Transcription of Data...............................................109
Load more

Recommended publications
  • The New Hong Kong Cinema and the "Déjà Disparu" Author(S): Ackbar Abbas Source: Discourse, Vol
    The New Hong Kong Cinema and the "Déjà Disparu" Author(s): Ackbar Abbas Source: Discourse, Vol. 16, No. 3 (Spring 1994), pp. 65-77 Published by: Wayne State University Press Stable URL: http://www.jstor.org/stable/41389334 Accessed: 22-12-2015 11:50 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Wayne State University Press is collaborating with JSTOR to digitize, preserve and extend access to Discourse. http://www.jstor.org This content downloaded from 142.157.160.248 on Tue, 22 Dec 2015 11:50:37 UTC All use subject to JSTOR Terms and Conditions The New Hong Kong Cinema and the Déjà Disparu Ackbar Abbas I For about a decade now, it has become increasinglyapparent that a new Hong Kong cinema has been emerging.It is both a popular cinema and a cinema of auteurs,with directors like Ann Hui, Tsui Hark, Allen Fong, John Woo, Stanley Kwan, and Wong Rar-wei gaining not only local acclaim but a certain measure of interna- tional recognitionas well in the formof awards at international filmfestivals. The emergence of this new cinema can be roughly dated; twodates are significant,though in verydifferent ways.
    [Show full text]
  • Intermedialtranslation As Circulation
    Journal of World Literature 5 (2020) 568–586 brill.com/jwl Intermedial Translation as Circulation Chu Tien-wen, Taiwan New Cinema, and Taiwan Literature Jessica Siu-yin Yeung soas University of London, London, UK [email protected] Abstract We generally believe that literature first circulates nationally and then scales up through translation and reception at an international level. In contrast, I argue that Taiwan literature first attained international acclaim through intermedial translation during the New Cinema period (1982–90) and was only then subsequently recognized nationally. These intermedial translations included not only adaptations of literature for film, but also collaborations between authors who acted as screenwriters and film- makers. The films resulting from these collaborations repositioned Taiwan as a mul- tilingual, multicultural and democratic nation. These shifts in media facilitated the circulation of these new narratives. Filmmakers could circumvent censorship at home and reach international audiences at Western film festivals. The international success ensured the wide circulation of these narratives in Taiwan. Keywords Taiwan – screenplay – film – allegory – cultural policy 1 Introduction We normally think of literature as circulating beyond the context in which it is written when it obtains national renown, which subsequently leads to interna- tional recognition through translation. In this article, I argue that the contem- porary Taiwanese writer, Chu Tien-wen (b. 1956)’s short stories and screenplays first attained international acclaim through the mode of intermedial transla- tion during the New Cinema period (1982–90) before they gained recognition © jessica siu-yin yeung, 2020 | doi:10.1163/24056480-00504005 This is an open access article distributed under the terms of the cc by 4.0Downloaded license.
    [Show full text]
  • A Brief Analysis of the Narrative Characteristics of Karwai Wong Film with “Days of Being Wild” As an Example
    Art and Design Review, 2020, 8, 170-175 https://www.scirp.org/journal/adr ISSN Online: 2332-2004 ISSN Print: 2332-1997 A Brief Analysis of the Narrative Characteristics of Karwai Wong Film with “Days of Being Wild” as an Example Bo Zhang, Weiqing Sun Department of Film and Television Arts, Shanghai Publishing and printing College, Shanghai, China How to cite this paper: Zhang, B., & Sun, Abstract W. Q. (2020). A Brief Analysis of the Narr- ative Characteristics of Karwai Wong Film As a leading figure of Hong Kong film, Karwai Wong has contributed nu- with “Days of Being Wild” as an Example. merous outstanding works to the Chinese film circle and even the world film Art and Design Review, 8, 170-175. circle. Behind his highly abstract image world, it reflects people’s bewilder- https://doi.org/10.4236/adr.2020.83013 ment of rootless drifting in modern cities. Through the analysis of the movie Received: July 8, 2020 “Days of Being Wild”, this paper reveals the narrative characteristics of Kar- Accepted: July 31, 2020 wai Wong film. Published: August 3, 2020 Keywords Copyright © 2020 by author(s) and Scientific Research Publishing Inc. Leading Figure, Rootless, Narrative Characteristics This work is licensed under the Creative Commons Attribution International License (CC BY 4.0). http://creativecommons.org/licenses/by/4.0/ 1. Introduction Open Access As a representative of melodrama movies directors in Hong Kong, Karwai Wong has his own unique style in selecting creative themes. From his first film “As Tears Go by” to “The Grandmaster”, he has always maintained a balance be- tween business and art, personal style and the requirement of audience in the 30 years of his movie career.
    [Show full text]
  • Chungking Express.Pdf
    Chungking Express BEFORE VIEWING – BEFORE READING SYNOPSIS TASK ■ With a partner, discuss and record your expectations of a film called Chungking Express which has been made in Hong Kong. After viewing the film you should compare notes with your partner to see how many of your expectations have been confirmed or contradicted. SYNOPSIS Cult Hong Kong filmmaker Wong Kar Wai’s Chungking Express is a stylish combination of romance, dead-pan comedy and film noir set in and around Hong Kong’s notorious Chunking Mansions, a complex of shabby hostels, bars and clubs teaming with illegal immigrants. The story centres on a small takeaway stall, the Midnight Express, which is frequented by two lovelorn Cops (223, Takeshi Kaneshiro and 633, Tony Leung Chiu Wai). They become involved with a mysterious drug dealer dressed in a blonde wig and sunglasses (Brigitte Lin), on the run from drug traffickers, and an impulsive young dreamer (Faye Wong) who works behind the counter of the Midnight Express. The central concerns of the film are identity and our reluctance to show, or to accept, who we truly are. The Brigitte Lin character wears a wig and sunglasses to hide her true self. Cop 223 refuses to accept the fact that his girlfriend has left him. The waitress (Faye Wong) secretly cleans the apartment for Cop 633 who avoids reading a goodbye note from his ex- girlfriend and is unable to realise that his apartment is getting cleaner and cleaner. BACKGROUND FOR WONG KAR WAI Wong Kar Wai belongs to the mid-1980s Second New Wave of Hong Kong filmmakers who continued to develop the innovative approaches initiated by the original Hong Kong New Wave, which included directors such as Tsui Hark, Ann Hui and Patrick Tam.
    [Show full text]
  • Writing Memory
    Corso di Dottorato di ricerca in Studi sull’Asia e sull’Africa, 30° ciclo ED 120 – Littérature française et comparée EA 172 Centre d'études et de recherches comparatistes WRITING MEMORY: GLOBAL CHINESE LITERATURE IN POLYGLOSSIA Thèse en cotutelle soutenue le 6 juillet 2018 à l’Université Ca’ Foscari Venezia en vue de l’obtention du grade académique de : Dottore di ricerca in Studi sull’Asia e sull’Africa (Ca’ Foscari), SSD: L-OR/21 Docteur en Littérature générale et comparée (Paris 3) Directeurs de recherche Mme Nicoletta Pesaro (Università Ca’ Foscari Venezia) M. Yinde Zhang (Université Sorbonne Nouvelle – Paris 3) Membres du jury M. Philippe Daros (Université Sorbonne Nouvelle – Paris 3) Mme Barbara Leonesi (Università degli Studi di Torino) Mme Nicoletta Pesaro (Università Ca’ Foscari Venezia) M. Yinde Zhang (Université Sorbonne Nouvelle – Paris 3) Doctorante Martina Codeluppi Année académique 2017/18 Corso di Dottorato di ricerca in Studi sull’Asia e sull’Africa, 30° ciclo ED 120 – Littérature française et comparée EA 172 Centre d'études et de recherches comparatistes Tesi in cotutela con l’Université Sorbonne Nouvelle – Paris 3: WRITING MEMORY: GLOBAL CHINESE LITERATURE IN POLYGLOSSIA SSD: L-OR/21 – Littérature générale et comparée Coordinatore del Dottorato Prof. Patrick Heinrich (Università Ca’ Foscari Venezia) Supervisori Prof.ssa Nicoletta Pesaro (Università Ca’ Foscari Venezia) Prof. Yinde Zhang (Université Sorbonne Nouvelle – Paris 3) Dottoranda Martina Codeluppi Matricola 840376 3 Écrire la mémoire : littérature chinoise globale en polyglossie Résumé : Cette thèse vise à examiner la représentation des mémoires fictionnelles dans le cadre global de la littérature chinoise contemporaine, en montrant l’influence du déplacement et du translinguisme sur les œuvres des auteurs qui écrivent soit de la Chine continentale soit d’outre-mer, et qui s’expriment à travers des langues différentes.
    [Show full text]
  • Chinese Literature in the Second Half of a Modern Century: a Critical Survey
    CHINESE LITERATURE IN THE SECOND HALF OF A MODERN CENTURY A CRITICAL SURVEY Edited by PANG-YUAN CHI and DAVID DER-WEI WANG INDIANA UNIVERSITY PRESS • BLOOMINGTON AND INDIANAPOLIS William Tay’s “Colonialism, the Cold War Era, and Marginal Space: The Existential Condition of Five Decades of Hong Kong Literature,” Li Tuo’s “Resistance to Modernity: Reflections on Mainland Chinese Literary Criticism in the 1980s,” and Michelle Yeh’s “Death of the Poet: Poetry and Society in Contemporary China and Taiwan” first ap- peared in the special issue “Contemporary Chinese Literature: Crossing the Bound- aries” (edited by Yvonne Chang) of Literature East and West (1995). Jeffrey Kinkley’s “A Bibliographic Survey of Publications on Chinese Literature in Translation from 1949 to 1999” first appeared in Choice (April 1994; copyright by the American Library Associ- ation). All of the essays have been revised for this volume. This book is a publication of Indiana University Press 601 North Morton Street Bloomington, IN 47404-3797 USA http://www.indiana.edu/~iupress Telephone orders 800-842-6796 Fax orders 812-855-7931 Orders by e-mail [email protected] © 2000 by David D. W. Wang All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses’ Resolution on Permissions constitutes the only exception to this prohibition. The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984.
    [Show full text]
  • Jeremy Tambling Hong Kong University Press the University of Hong Kong Pokfulam Road Hong Kong
    Jeremy Tambling Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2003 Hong Kong University Press Hardback edition first published 2003 Paperback edition first published 2003, reprinted 2006 ISBN 978-962-209-588-5 (Hardback) ISBN 978-962-209-589-2 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Condor Production Ltd., Hong Kong, China Contents Series Preface vii Preface x 1 Introduction: Approaching the Film 1 2 Happy Together and Allegory 9 3 Contexts: Why Buenos Aires? 2 4 Contexts: The Road Movie 33 5 Reading the Film 39 6 Happy Together and Homosexuality 65 7 Happy Together, Hong Kong and Melancholy 77 8 Epilogue: Happy Together and In the Mood for Love 93 vi CONTENTS Notes 105 Filmography 115 Bibliography 119 1 Introduction: Approaching the Film In May 1997, just before Hong Kong passed from British colonial rule to the People’s Republic of China — the event of June 30 which turned the colony into an S.A.R. (Special Administrative Region) — Hong Kong director Wong Kar-wai released the film Happy Together (春光乍洩). Wong Kar-wai was born in Shanghai in 1958 but he was brought up in Hong Kong and began film-making — if a beginning can be located at this point without being arbitrary about his previous work on films — with As Tears Go By (1988).
    [Show full text]
  • Wong Kar Wai Biografía
    Publicado en ARTIUM - Biblioteca y Centro de Documentación (https://catalogo.artium.eus) Inicio > En torno al cine » Directores > W > Wong Kar Wai Wong Kar Wai Biografía Wong Kar Wai, el director de las sempiternas gafas de sol, nació en 1958 en Shanghai, China. Su nombre entonces era Wang Jiawei. Cuando sólo tenía cinco años, se trasladó con sus padres a la entonces colonia británica de Hong Kong. Fijaron su residencia en Tsim Sha Tsui, no lejos del famoso Chungking Mansions, edificio compuesto por una mezcolanza de apartamentos de bajo coste, restaurantes, tiendas o negocios de diverso tipo, con un ambiente un tanto extraño, que ha servido de inspiración para muchas de las películas del cineasta. El cambio no fue fácil para el pequeño Wang Jiawei. Sólo hablaba mandarín y shanghainés, por lo que se vio obligado a aprender cantonés. Su nombre también se tuvo que adaptar a la nueva lengua, pasando a llamarse Wong Kar Wai. No tiene amigos, y sólo encuentra consuelo en el cine y la literatura, disciplinas en las que le inician sus padres. Su madre, aficionada al séptimo arte, llevaba a su hijo a las múltiples salas de cine que rodeaban la casa donde vivían. Allí se empapó de películas de todo tipo, tanto de directores locales como europeos o de Hollywood. Son estas fuentes las que le sirven de inspiración para realizar sus películas, ya que nunca asistió a una escuela de dirección. En 1980 se graduó en diseño gráfico por el Hong Kong Polytechnic College, matriculándose posteriormente en un curso de producción que organizaba la Television Broadcasts Limited (TVB) de Hong Kong.
    [Show full text]
  • Destination Hong Kong: Negotiating Locality in Hong Kong Novels 1945-1966 Xianmin Shen University of South Carolina - Columbia
    University of South Carolina Scholar Commons Theses and Dissertations 2015 Destination Hong Kong: Negotiating Locality in Hong Kong Novels 1945-1966 Xianmin Shen University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Comparative Literature Commons Recommended Citation Shen, X.(2015). Destination Hong Kong: Negotiating Locality in Hong Kong Novels 1945-1966. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3190 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. DESTINATION HONG KONG: NEGOTIATING LOCALITY IN HONG KONG NOVELS 1945-1966 by Xianmin Shen Bachelor of Arts Tsinghua University, 2007 Master of Philosophy of Arts Hong Kong Baptist University, 2010 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy in Comparative Literature College of Arts and Sciences University of South Carolina 2015 Accepted by: Jie Guo, Major Professor Michael Gibbs Hill, Committee Member Krista Van Fleit Hang, Committee Member Katherine Adams, Committee Member Lacy Ford, Vice Provost and Dean of Graduate Studies © Copyright by Xianmin Shen, 2015 All Rights Reserved. ii ACKNOWLEDGEMENTS Several institutes and individuals have provided financial, physical, and academic supports that contributed to the completion of this dissertation. First the Department of Literatures, Languages, and Cultures at the University of South Carolina have supported this study by providing graduate assistantship. The Carroll T. and Edward B. Cantey, Jr. Bicentennial Fellowship in Liberal Arts and the Ceny Fellowship have also provided financial support for my research in Hong Kong in July 2013.
    [Show full text]
  • The Ambivalent Identity of Wong Kar-Wai's Cinema
    Université de Montréal The ambivalent identity of Wong Kar-wai’s cinema par Ludmila Moreira Macedo de Carvalho Département de Littérature Comparée Faculté des Arts et des Sciences Thèse présentée à la Faculté des études supérieures et postdoctorales en vue de l’obtention du grade de Ph.D. en Littérature option Littérature et cinéma Juin 2009 Copyright Ludmila Moreira Macedo de Carvalho, 2009 Université de Montréal Faculté des Arts et des Sciences Cette thèse intitulée The ambivalent identity of Wong Kar-wai’s cinema présentée par : Ludmila Moreira Macedo de Carvalho a été évaluée par un jury composé des personnes suivantes : Savoy, Eric Président-rapporteur Lu, Tonglin Directrice de recherche Vigo, Julian Membre du jury Liu, Kang Examinateur externe Garneau, Michèle Représentante du doyen de Faculté ii Sommaire Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar- wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation. L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente.
    [Show full text]
  • INFERNAL AFFAIRS (2002, 101 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
    November 13 2018 (XXXVII:12) Wai-Keung Lau and Alan Mak: INFERNAL AFFAIRS (2002, 101 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY Wai-Keung Lau (as Andrew Lau) and Alan Mak WRITING Alan Mak and Felix Chong PRODUCED BY Wai-Keung Lau producer (as Andrew Lau), line producers: Ellen Chang and Lorraine Ho, and Elos Gallo (consulting producer) MUSIC Kwong Wing Chan (as Chan Kwong Wing) and Ronald Ng (composer) CINEMATOGRAPHY Yiu-Fai Lai (director of photography, as Lai Yiu Fai), Wai-Keung Lau (director of photography, as Andrew Lau) FILM EDITING Curran Pang (as Pang Ching Hei) and Danny Pang Art Direction Sung Pong Choo and Ching-Ching Wong WAI-KEUNG LAU (b. April 4, 1960 in Hong Kong), in a Costume Design Pik Kwan Lee 2018 interview with The Hollywood Reporter, said “I see every film as a challenge. But the main thing is I don't want CAST to repeat myself. Some people like to make films in the Andy Lau...Inspector Lau Kin Ming same mood. But because Hong Kong filmmakers are so Tony Chiu-Wai Leung...Chen Wing Yan (as Tony Leung) lucky in that we can be quite prolific, we can make a Anthony Chau-Sang Wong...SP Wong Chi Shing (as diverse range of films.” Lau began his career in the 1980s Anthony Wong) and 1990s, serving as a cinematographer to filmmakers Eric Tsang...Hon Sam such as Ringo Lam, Wong Jing and Wong Kar-wai. His Kelly Chen...Dr.
    [Show full text]
  • The Legend of Wong Kar-Wai: from Box Office Bomb to Office Number-One Film
    Yeung Tak Sang (53087121) The Legend of Wong Kar-Wai: From box office bomb to office number-one film Wong Kar-wai, the director who won 1997 Cannes Best Director, always produce films that are unprofitable in Hong Kong. A typical example is Days of Being Wild (1990), which received HK $9,751,942 with budget $39,000,0001 for filming. Chungking Express (1994), the Best Picture in 1995 Hong Kong Film Awards, only received HK $7,678,549.00 in Hong Kong box office. So unprofitable are his films that people describe his films as ‘the box office bombs’. Are The Oscar Winners Worth So Much? From The Perspective of the Box Office Records (2011), a research done by Wen-Cheng Ho, Lin Lin and Chih-Chien Chien shown that “for film directors, winning the Academy Award can indeed boost the box office of films they directed afterward, yet for actors and actresses; Academy Award winning does not have a significant impact on the box office of their films shoot later on.”2. Happy Together (1997) won Wong Kar-wai a Best Director in 1997 Cannes Film Festival. The reputation of Cannes Film Festival awards is very close to Academy Award. However, the films produced by Wong were still unprofitable until The Grandmaster. In 2013, Wong released his newest film The Grandmaster. As usual, this movie was generally accepted by the critics. Peter Travers from Rolling Stone commented, “You leave this deeply flawed, deeply beautiful film with no doubt that you've seen an indisputable cinematic grandmaster in action.”3 Ming Pao Weekly used “Wong Kar-wai is back”4 to comment on this film.
    [Show full text]