Wong Kar-Wai: Second Cinema Auteur

The internationally acclaimed Hong Kong director Wong Kar-Wai is seen to be an auteur in Second Cinema as his work includes trademarks to distinguish itself from others’. Similar narrative devices, stylistic choices and discourses link his films. All of these choices transcend national boundaries to create poetic, transnational films that can be enjoyed by a large audience. This is seen in the films Chungking Express (Wong Kar-Wai, 1994), Fallen Angels(Wong-Kar-Wai, 1995) and 2046 (Wong Kar-Wai, 2004). A connection can be drawn through similar narrative devices in the films.

It can be seen from his work that Kar-Wai has many stories to tell. He uses multiple interlinking narratives in his films. This is so he can tell many different stories to see a snapshot into the characters’ lives. The multi-narrative storytelling is seen in Chungking Express and Fallen Angels, as they are both about two main stories, but within those there are two characters’ points-of-view and back-stories. This creates 4 interlinking narrative strands that are shown in the films. All of these are played in fragmented non-chronological order throughout the entirety of the films, as to create a more complicated and interesting plot. Inarritu described Kar-Wai’s influence on his work through his “…experimenting formally and inventing new ways of narrative,” (Lawrenson, 2001, 30). Even though they are separate from each other, the characters inadvertently have chance encounters with each other from all of the separate strands, and are all told in a way that shows the character’s development as juxtaposition to another. An example of this in Chungking Express is where He Zhiwu (Takeshi Kaneshiro), meets Blonde Woman (Brigitte Lin) in a bar, after they have been introduced to the audience as separate characters (in their individual story lines), which then fuses to become one story stand. Kar-Wai is trying to say that through their encounter, their lives will be changed and that the mix between the chance encounters and solitude is the “…natural state of human existence,” (Mazierska and Rascaroli, 2000, 3).

Similar locations between the narratives also link separate stories, as seen in Fallen Angels as the two main story lines of the Hitman (Leon Lai) and his mysterious Partner (Michelle Reis) is linked with Ho Chi Moo (Takeshi Kaneshiro) and Charlie’s (Charlie Yueng) story as Ho and the Partner happen to live in the same building. This is seen later as the Partner happens to be eating in a restaurant that Ho is temporarily working in.

It is done in a slightly different way in 2046 because there are only 2 distinct narratives. One is the real life of the writer Chow Mo-Wan (Tony Leung Chiu Wai), and the second is the world of his written work. There is a clearer distinction in these two strands, not only visually but also in the way that the ‘fake’ story is much slower, as compared to the busy story of his life. However, it is also seen that there is clearer links in these two strands as Chow writes about what is happening in his life. The character has trouble expressing his true emotions in real life so his work is hyper emotive. The way that multiple narrative strands are found in the film examples, and that they all link through strange circumstances, promote his auteurial standing. This book in 2046, highlights a major narrative device in all of his films. 

It is seen that his films are all very poetic and sometimes cryptic about the portrayed messages. This poetic storytelling is achieved through the repetition of thought provoking lines in the films such as in 2046 with, “It was said that in 2046, nothing ever changed. Nobody knew for sure if it was true.” This is done through interior monologues from characters and them explaining the stories in past tense by the use of narration. There is a feeling that the audience is invited into the characters’ thoughts and motives thus create empathy for them. This implies an invited feeling for the action in the film. It is said by Pun that the use of narration and multiple fragmented narratives creates highly subjective works (2005, 30). That Kar-Wai is thematically telling his memories in his films. This repetition of poetry in his work shows him as an auteur. This is further seen in his stylistic choices.

Kar-Wai’s utilises homogeneous stylistic elements to portray himself as an auteur. His most notable visual trademark is his use of Step-Printing. This creates an effect of motion being slowed down whist other parts appear blurred as they are at the same rate. This is used in most of his films (but more so in Chungking Express) for the purpose of making the audience see the importance in the seemingly meaningless moments, not just the important parts (Paine, 2001, 3). This is shown when He Zhiwu  (in Chungking Express), is walking through the street and brushes past Blonde Woman and says “…This is the closest we ever got, just 0.01 of a centimeter between us. But 57 hours later, I fell in love with this woman.” This Step-Printing has become a trademark of his, thus shows how he is a well-known auteur.

Kar-Wai uses hyper attention to detail in his shots to create visually rich films. The urban settings are beautifully shot on differing film stock to not only create diversity but to creatively portray the character’s inner emotions. There is use of black and white film stock, sometimes grainy, blurred, sometimes sped up and slowed down shots. There is often a formalist constant to his work, whilst even though his narratives are realist, his work recognises its own medium. An example of this is seen in Fallen Angels where Ho’s feeling of falling in love with a woman who is still in love with another man is visually represented, as well as said in the scene when he realises this. They are leaning against railing and it suddenly turns black and white, with water falling down the camera to signify rain. As this happens people are walking behind them in the fast motion of Step-Printing in a restaurant whilst he is at a regular pace. The non-diegetic music then comes in after he is finished talking and this is a typical 12-bar blues progression. He then leans on her and she does not respond, meaning that the shot signifies a slowed down moment that is happening in his mind. This tells the audience that he feels greatly for this woman, and because many have been through the same experience, it is inviting them to understand his predicament.

The mise-en-scene and locations connect his films stylistically. There is a heavy use of ultra bright colours such as red, blue and green that are typically seen in the urban setting through neon lights. This bright colour palate is repeated in his films. Harbord explains there is a beautiful space created in the non-specific geographical dark city locations in his films (2007, 97). There is the use of Chiaroscuro lighting too, where heavy shadows are created from the use of a harsh key light. The night is dark and mysterious, and the day is often washed out with paler colours. The colour palate and lighting often work in tandem and an example of this is in Fallen Angels with the Partner’s house having a harsh yellow light coming through the window as the only lighting in her apartment. The props draw the same conclusion as the lighting.

In the buildings there are usually many small items that make up his characters. This is seen in Chungking Expresswith He Zhiwu and his tinned pineapple. His characters often wear quirky costumes as a hyper visual representation of themselves. An example of this is Blondie (Karen Mok) in Fallen Angels whose wild demeanour is accented through her bright red leather trench coat. Everything in the mise-en-scene is used to promote the idea that the city itself is a character, that somehow it is the force that is driving all of his characters’ chance encounters together. It is also seen that the intense lighting, mixed with the setting, the narration, the characters and the themes point to the genre of these films being that of Neo-Noir. This style is used in all of the films and maintains his auteurial status.

Chungking Express and fallen Angels both have a fast editing and rhythm to the action in the films. 2046 has a slower pace, although that is only because there are fewer narratives. However, all of these films have the similarity of having slow moving individual plots, yet the entirety of the film feels quite quick. This is a weird rhythm to be in. This fast editing can be mixed with various shot types to create an exciting pace for the audience. An example is of any shot of someone eating in Fallen Angels, when a wide angled lens is used just because he thought it would be a cool idea (Kar-Wai, 1995). This excitement is shown in all these films, thus it is seen that he is an auteur. This is done to further promote the idea of the ever-changing city, like seen with his connected discourses.

The main discourses of this film all relate to the urban settings. Crime is heavily seen in all but more so in Fallen Angels. As a juxtaposition of this, Chungking Express features a law theme. This is seen in the actor Takeshi Kaneshiro where he plays a cop in and a criminal as a part of the combined story of both of these films. In 2046 there is a strong sense of justice. This is because all of the characters seemingly get what is deserved of them. This ‘street life’ triumvirate is powered by an equally strong theme of love.

All these films have the discourses of sex and love. From prostitution to the beautiful dawning of love. The two ideas are seen to be heavily exclusive from one another. A lot of the time, a story line will revolve around a character trying to find true love. Along the way the character may have many sexual encounters, but may choose not to stay with that character, as seen in 2046 with the Chow and Su Li-zhen (Li Gong) romance. In fact it is seen that what Kar-Wai is trying to promote is that true love comes from relationships that blossom slowly. This is seen in Chungking Express with Cop 663 (Tony Leung Chiu Wai) and Faye (Faye Wong). This links to the idea that is said by Kar-Wai: his films all “revolve around one theme: the communication among human beings,” (Chow, 1999, 36). Only when characters can learn to properly communicate with each other, can they find their path and love.

There is also a feeling of resolution and memory discourses. It has been seen that the characters are all on a journey and they will not stop until they have found their true place in the world (with Ho in Fallen Angels as he moves from job to job). However all of these films are presented in a past sense as though the narration is the characters remembering a short period of their lives. Kar-Wai might be trying to say that these characters have already found fulfilment and we are merely seeing a snapshot of a distant memory of the characters as they have either found their right path, or learnt their lesson. This is seen that every character’s narrative arc is tied off, no matter how small the character. In 2046 in particular, even both of the daughters of the Chungking Mansion landlord, are even given a huge back-story, and even brought back as characters in the plot later on. These repeating themes are used to show his body of work as a whole, conveying that he is an auteur.

It is also seen that the transnational discourse in all of his films highlights him as an auteur. He shoots all throughout Asia in his films. For example 2046 is shot in Beijing, Hong Kong, Macao, Shanghai and Bangkok (Teo, 2005, 115).There is also a large Western influence in his film. This is seen in all of the examples as there are Western companies portrayed such as Coca-Cola and there is also a predominance of Western food in Chungking Express as the main food stall sells hot chips and hamburgers. The future that is portrayed in 2046 includes an opening voiceover that is in Japanese, “…informing us that in 2046 every railway network spans the globe and nothing changes. By all appearances, then, this is a transnational, post-modern landscape where every place has become indistinguishable from every other place” (Udden, 2005, 67). This is also seen with the genre of these films being Neo-Noir and romantic–comedies that they are typically Western genres. This transnational discourse shows how a larger audience can enjoy his work, which is something that many international directors wish to do. This is seen to show that he is an auteur of Second Cinema.

It can be surmised that Wong Kar-Wai is an auteur of Second Cinema. This is because his films, revolving around city life are projected to a large transnational audience. There are similarities in his films Chungking Express, Fallen Angels and 2046 through the narrative devices, stylistic choices and discourses.

REFERENCE LIST

Chow,R. 1999. “Nostalgia of the New Wave: Structure in Wong Kar-Wai’s Happy Together.” Camera Obscura 14 (42): 31-51. Accessed April 12, 2012.   http://web.ebscohost.com.ezp01.library.qut.edu.au/

Harbord, J. 2007. The Evolution of Film: Rethinking Film Studies. Malden: Polarity Press.

Kar-Wai, Wong. 1994. Chungking Express. Directed by Wong Kar-Wai. Produced by Chan Ye Cheng. Hong Kong: Jet Tone Productions. DVD.

Kar-Wai, Wong. 1995. Fallen Angels. Directed by Wong Kar-Wai. Produced by Jeffrey Lau. Hong Kong: Jet Tone Productions. DVD.

Kar-Wai, Wong. 2004. 2046. Directed by Wong Kar-Wai. Produced by Wong Kar- Wai.Hong Kong: Jet Tone Productions. DVD.

Lawrenson, E. 2001. “Pup Fiction.” Sight and Sound. 5: 28-30. Accessed April 15, 2012. www.blackboard.qut.edu.au

Mazierska, Ewa and Laura Rascaroli. 2000. “Trapped in The Present: Time in the Films of Wong Kar-Wai.” Film Criticism 25 (2): 2-20. Accessed April 5, 2012. 

http://gateway.library.qut.edu.au/login?url=http://search.proquest.com.ezp01.li      brary.qut.edu.au/docview/200838213?accountid=13380

Payne, R. 2001. "Ways of Seeing Wild: The Cinema of Wong Kar-Wai". Jump cut (1):1-5. Accessed April 11, 2012. http://www.ejumpcut.org/archive/jc44.2001/payne%20for%20site/  paynetextonly.html

Pun, B. 2005. “Intersemiosis in Film: A Metafunctional and Multimodal Exploration of Colour and Sound in the Films of Wong Kar-Wai.” PH.D Thesis, University of New South Wales.      http://unsworks.unsw.edu.au/fapi/datastream/unsworks:801/SOURCE02

Teo, S. 2005. Wong Kar-Wai. London: BFI

Udden, J. 2005, "The Stubborn Persistence of the Local in Wong Kar-Wai.” Essays in Film and the Humanities 25 (2): 67-79. Accessed April 12, 2012.      http://search.proquest.com.ezp01.library.qut.edu.au/iipa/docview/2144370/13       609A27C3A25549CF0/1?accountid=13380