Mood For Love
Few directors body of work move me as much as Wong Kar Wai does. It might be the nostalgic feeling of a 60's Hong Kong I never lived in, or even how he explores isolation, urbanity and absence as recurring themes in his movies. Perhaps, it all goes back to the first time I watched In the Mood for Love. At the time I didn't knew anything about his work so I was completely caught off my guard. And you know, the first time you watch a Wong Kar Wai film you feel as you just watched a moving painting, fragments of a personal dream, someone's lost memory transfigured into frames. It's the strong fascination for architectural surfaces, the color schemes, the decor, the use of light, the director's captivation by the smallest details.
His bold visual …show more content…
And there's a passage of Deleuze in Cinema 1: The Movement of Image that says “the camera does not simply give us the vision of the character and of his world; it imposes another vision in which the first is transformed and reflected" (74) and I think that's precisely what Wong Kar Wai does. He provides us with an image that is never completely objective and by doing so he connects us with the sensibility behind what we see.
We see what the character sees, but at the same time we are aware of what the camera sees and this strong duality transform our experience. It's the encounter of different subjectivities. We are not entirely inside the character's mind, neither completely outside the character's mind. We are with them.
Instead of trying to avoid representation, Wong Kar Wai embraces it. By explicitly showing that he is manipulating the image: colors either bright or faded, long contemplative shots or abrupted transitions... Wong Kar Wai produces images that not only question what is being represented, but that push the image even more towards the expression of the subjectivity of his
His bold visual …show more content…
And there's a passage of Deleuze in Cinema 1: The Movement of Image that says “the camera does not simply give us the vision of the character and of his world; it imposes another vision in which the first is transformed and reflected" (74) and I think that's precisely what Wong Kar Wai does. He provides us with an image that is never completely objective and by doing so he connects us with the sensibility behind what we see.
We see what the character sees, but at the same time we are aware of what the camera sees and this strong duality transform our experience. It's the encounter of different subjectivities. We are not entirely inside the character's mind, neither completely outside the character's mind. We are with them.
Instead of trying to avoid representation, Wong Kar Wai embraces it. By explicitly showing that he is manipulating the image: colors either bright or faded, long contemplative shots or abrupted transitions... Wong Kar Wai produces images that not only question what is being represented, but that push the image even more towards the expression of the subjectivity of his