The Filmic Bodies of Wong Kar-Wai
Total Page：16
File Type：pdf, Size：1020Kb
The Filmic Bodies of Wong Kar-wai Louise Malcolm A Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy School of Arts and Media University ofNew South Wales August 2013 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: Malcolm First name: Louise Other name/s: Anne Abbreviation for degree as given in the University calendar: PhD School: Arts and Media Faculty: Arts and Social Sciences Title: The Filmic Bodies of Wong Kar-wai Abstract 350 words maximum: (PLEASE TYPE) This thesis analyses the films of Wong Kar-wai as important examples of affective film performance. It ~xp l ores the particular performative and cinematic techniques found in his work. Through the close examination of these techniques this thesis suggests how Wong creates conditions for spectators to engage bodily with performing bodies on screen. The thesis treats film performance as a matter of film style, seeing it as always constructed through combinations of the performing body, the camera and the edit. It approaches performance on film as a filmic body; an amalgam of performative and cinematic techniques inextricably melded together. This thesis sets up fragmentation as the key trait of Wong's film style, central to his filmic bodies and to the way spectators may engage affectively with them. In particular, the thesis addresses how multiple levels of fragmentation, both performative and cinematic, operate in concert. Visual, temporal and spatial tragmentation are analysed as central components of Wong's filmic bodies in this regard. Further, this stylistic analysis suggests a notion of affective intertextuality, based on stylistic connections between his films, as vital to how spectators can engage bodily with his filmic bodies. This thesis works from the assumption that spectators engage with cinema in a bodily way. It contributes to a current drive in film studies to re-insert the body of the spectator into understandings of how we engage with cinema. New approaches to film performances outside the traditional concerns of representation make up a smaller part ofthis "re insertion". Through close analysis of film performance as a key element of Wong's film style this thesis aims to contribute both to debates on Wong and the affective power of performance on film. Declaration relating to disposition of project thesis/dissertation 1 hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future wor1<s (such as articles or books) all or part of this thesis or dissertation. 1 also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). u~ ~ 5: U..:~ ../..?../~.~~-~ - '±. .............. .. ~~~······· ' "' ' "'" · ···~;~;;; '' " ' ' Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of complelion of requirements for Award: THIS SHEET IS TO BE GLUED TO THE INSIDE FRONT COVER OF THE THESIS COPYRIGHT STATEMENT 'I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known , subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed )@& Date L7/ <:3j N- AUTHENTICITY STATEMENT 'I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.' Signed Date 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 or in style, presentation and linguistic expression is acknowledged.' Signed .... ~ ............................. Date ....{ .. ?/q.. ~ ../.(.Lf ............................. ABSTRACT This thesis analyses the films of Wong Kar-wai as important examples of affective film performance. It explores the particular performative and cinematic techniques found in his work. Through the close examination of these techniques this thesis suggests how Wong creates conditions for spectators to engage bodily with performing bodies on screen. The thesis treats film performance as a matter of film style, seeing it as always constructed through combinations of the performing body, the camera and the edit. It approaches performance on film as a filmic body; an amalgam of performative and cinematic techniques inextricably melded together. This thesis sets up fragmentation as the key trait of Wong’s film style, central to his filmic bodies and to the way spectators may engage affectively with them. In particular, the thesis addresses how multiple levels of fragmentation, both performative and cinematic, operate in concert. Visual, temporal and spatial fragmentation are analysed as central components of Wong’s filmic bodies in this regard. Further, this stylistic analysis suggests a notion of affective intertextuality, based on stylistic connections between his films, as vital to how spectators can engage bodily with his filmic bodies. ii This thesis works from the assumption that spectators engage with cinema in a bodily way. It contributes to a current drive in film studies to re-insert the body of the spectator into understandings of how we engage with cinema. New approaches to film performances outside the traditional concerns of representation make up a smaller part of this “re-insertion”. Through close analysis of film performance as a key element of Wong’s film style this thesis aims to contribute both to debates on Wong and the affective power of performance on film. iii ACKNOWLEDGEMENTS First and foremost I would like to express my unending indebtedness and appreciation to my supervisor Dr Michelle Langford for her generosity, honesty and commitment in guiding me to the completion of this project. Michelle, your feedback and conversation have constantly compelled me to push myself as both a thinker and writer. Your energy, support and stamina have been invaluable and I feel incredibly fortunate to have had you as my supervisor. To Dr George Kouvaros, the co-supervisor of this dissertation, I extend heartfelt thanks for your readings of the thesis throughout the project. Your feedback has been vital in the shaping of this dissertation and your advice is always considered and beneficial. Big thanks to the School of Arts and Media and the School of Education for keeping me employed and financially afloat through this process. Most especially Julie Miller, Catherine Courtenay, Nisha Vohra and Simone Pilosio. Your support literally meant I had a roof over my head and food in my belly. I’d like to thank my family for their patience, love and support through the years it took to complete this project. Extra special thanks goes out to my parents, Lance and Noni Malcolm. Though as the first person in my family to attend university I know you have been confused as to why I would want to stay so long, you still managed to support me through the duration. iv Lastly, I would like to thank all the friends and housemates that have supported me through this project. In particular I would to thank fellow UNSW postgraduate Dr Megan Carrigy and irreplaceable friend Michelle Wood for their meticulous proofreading. Big thanks to Michael Green, Emma Pressman, Bruce Cherry, Elliot Hughes, Debs McCann, Julianne Elliot, Christopher Wooffindin, Christopher Brew and Ben Bavinton for putting up with me and supporting me as friends, partners and housemates through this process. v CONTENTS ABSTRACT ii ACKNOWLEDGEMENTS iv INTRODUCTION 1 CHAPTER ONE Locating Wong 35 CHAPTER TWO Film Performance and an Aesthetic of Fragmentation 84 CHAPTER THREE! The Tactility of Fluctuating Rhythm 144 CHAPTER FOUR A Study of Performance in Small Spaces 191 CONCLUSION Film Performance as Affective Intertext 250 FILMOGRAPHY 269 BIBLIOGRAPHY 272 vi INTRODUCTION 1 The stories told in Days of Being Wild have come to an end. We are briefly returned to a location frequented by the characters earlier in the film, now deserted.