Please write a well-organized of about 800-1000 words that presents a clear argument and comparative analysis of two primary sources. Please focus on doing

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LTEA 120C Hong Kong Films Hong Kong Cinema Through a Global Lens

Fall 2024

Midterm Paper: Comparative Analysis (25%) For your Midterm Paper, please write a well-organized essay of about 800-1000 words that presents a clear argument and comparative analysis of two primary sources. Please focus on doing a close comparative reading of two Hong Kong films of your choice. You may choose two films by the same director or featuring the same actor, or you may choose to compare two very different films. It is important that you relate your close readings of the two films you are focusing on to key themes and concepts that we are discussing in this class. You should also engage the ideas in at least one secondary source. Please submit your complete, correctly formatted essay via Canvas link by Friday, November 15. When writing your essay please keep the following in mind:

1. Construct a clear, well-rounded thesis / argument. 2. Analyze and discuss TWO (2) primary sources (films) within the framework of

your central thesis / argument. 3. Integrate and engage ideas in at least ONE (1) secondary source of relevant

scholarship or theory. Be sure to acknowledge the author and title of the text(s) you are referring to.

4. Follow correct formatting guidelines (MLA or Chicago Manual of Style) for all references and bibliography (list of works cited).

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XXXXXXX XXX

Professor Géraldine Fiss

LTEA 120C

26 May 2024

Encapsulating the Essence of Hong Kong in Wong Kar-wai’s Works: A

Comparative Analysis of Chungking Express (重庆森林) (1994) and In the Mood for Love

(花樣年華) (2001):

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Ackbar Abbas’ critical theory of the “culture of disappearance” captures the ever-shifting

political landscapes and cultural identities of Hong Kong. The feelings of impermanence,

cultural amnesia, and dislocation that stem from Hong Kong’s unique experience deeply

infiltrate the works of filmmakers such as Wong Kar-wai. Wong’s cinematography captures

beauty in the messy and turbulent lives of his characters and enables him to tell stories within the

context of Hong Kong’s microcosm. In his films In the Mood for Love and Chungking Express,

Wong Kar-wai touches on themes of cultural disposition, ephemerality, and Hong Kong society.

More specifically, Wong utilizes music and camera work to achieve varying effects in his films

In the Mood for Love and Chungking Express. The two films feel drastically different through the

choices of Wong Kar-wai, yet convey similar themes.

Wong Kar-wai strategically uses music to elicit emotions from the audience, reemphasize

themes, and establish Hong Kong’s environment. In Chungking Express, Wong Kar-wai uses the

song “California Dreamin’” by The Mamas & The Papas as a centerpiece to the relationship

between Faye and Cop 663 as well as to illustrate Hong Kong’s atmosphere. The first time Wong

Kar-wai plays this song, it’s being blasted by Faye as she meets Cop 663. When he asks if she

likes loud music, Faye replies “Yes. The louder the better. Keeps me from thinking so much”

(Chungking Express 42:28-42:42). This song signals the start of Faye and Cop 663’s relationship,

and appears multiple times throughout the film as their relationship progresses. However, the

song also portrays the state of Hong Kongers’ cultural erosion. Using an American song helps

the audience understand Hong Kong’s cultural identity crisis under British colonial rule as the

city approaches the Hong Kong Handover. Faye’s escapist attitude also reflects the anxiety of

citizens as they experience a tumultuous transitional period in Hong Kong.

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In his film In the Mood for Love, Wong Kar-wai uses “Yumeji's Theme” by Shigeru

Umebayashi to elicit emotions from the audience and serve as a motif of the conservative culture

in 1960s Hong Kong. The song plays a total of 9 times and each time it plays, the camera goes

into slow motion. Wong Kar-wai draws the audience into a trance, watching Mr. Chow and Mrs.

Chan as their relationship blossoms. “Yumeji’s theme” is an indicator to the audience, telling

them that the relationship is reaching its next stage. However, as it slowly becomes obvious that

their relationship is hopeless, the song begins to haunt the audience. The plucking of strings,

once exciting and flirtatious, becomes a dreadful realization that Mrs. Chan and Mr. Chow’s

relationship will not get its happily ever after. The feeling of unattainability becomes linked with

“Yumeji’s Theme” and the audience begins to understand more deeply the conservative standards

of Hong Kong. As “Yumeji’s Theme” plays for the last time during the closing credits, the

audience can’t help but wonder how the story would differ if Mr. Chow and Mrs. Chan lived in a

different time period or city.

The camerawork in Chungking Express and In the Mood for Love differs drastically as

Wong Kar-wai uses it to depict each respective time period of Hong Kong. In Chungking

Express, Wong deploys many techniques such as camera distortion and motion blur to express

the fleeting feeling that was so prevalent in 1990s Hong Kong. For example, as Cop 223

navigates toward a fleeing criminal, the camera gives the audience motion sickness. Each detail

in the scene is meticulously and intentionally distorted. Symbols flash quickly on the screen,

giving no time for the audience to comprehend the scene. Finally, for a brief second, the screen

stops as Cop 223 runs into the blonde-wigged woman. He narrates “This is the closest we ever

got. Just 0.01 of a centimeter between us” (Chungking Express 2:33-2:43). This scene perfectly

encapsulates the feeling of transience in Hong Kong. Important details are shown for brief

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moments before the scene changes again. Through the distortion and chaos of the scene, the

audience feels Hong Kong’s state of impermanence. Even the meeting of Cop 223 and the

blonde-wigged woman passes in mere seconds. The lives of the people are tumultuous and

fast-paced, as described by Abbas, and are conveyed perfectly by Wong’s stylistic choices. On

the other hand, In the Mood for Love has structured and delicate camerawork. For example, as

Mrs. Chow calls Mr. Chan to warn him that they need to be more cautious, the camera is focused

on a window. Through it, two sides of a bookshelf can be seen, but never Mrs. Chow (In the

Mood for Love 21:45-21:51). This scene shows the audience how elusive the two cheaters are

because of their delicate situation within Hong Kong’s social framework. In fact, throughout the

entire film, Mr. Chan and Mrs. Chow’s faces are never seen. This camerawork depicts how

fragile the relationships are between Mr. Chow and Mrs. Chan, their spouses, and all of their

reputations in the slow-paced conservative setting of British colonial Hong Kong. This deeply

contrasts with the fast-paced distorted camerawork and social climate of Chungking Express.

Wong Kar-wai's films Chungking Express and In the Mood for Love deeply resonate with

Ackbar Abbas' idea of Hong Kong's "culture of disappearance." Wong’s cinematic and musical

choices successfully capture the essence of Hong Kong and its citizens in their respective times.

For Chungking Express, Wong’s choice of music paints a picture of cultural dissonance in 1990s

Hong Kong while his erratic camerawork depicts Hong Kong’s transience. In the Mood for

Love’s musical motif, “Yumeji’s Theme,” portrays the conservative nature of Hong Kong in the

1960s. At the same time, his camerawork shows the fragility of the characters’ interrelationships

within Hong Kong’s society. His choices in each film further enrich the audience’s experience

and allow any spectator from any time and background to understand Hong Kong and its

complex circumstances.

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Works Cited

Abbas, Ackbar. “Wong Kar-wai: Hong Kong Filmmaker.” Hong Kong, Culture and the Politics

of Disappearance, University of Minnesota Press, pp. 48-62

https://www.jstor.org/stable/10.5749/j.ctttshbm.6.

Chungking Express. Directed by Wong Kar-Wai, performances by Tony Leung, Faye Wong,

Bridgette Lin, and Takeshi Kaneshiro, Jet Tone Production, 1994.

In the Mood for Love. Directed by Wong Kar-Wai, performances by Tony Leung and Maggie

Cheung, Block 2 Pictures, Paradis Films, Jet Tone Productions, 2001.