Abstract
Since the 1990s, the unique image of Wong Kar-wai's films in the pattern of world cinema is getting more and more appealing throughout the world. Through the investigation of the status, role, identity and gender of Wong Kar-wai's films, we can find that Wong Kar-wai's films are a unique landscape of the auteur film in the context of Hong Kong's post-industrial and post-colonial society. Nowadays, more and more scholars have tried to combine Wong Kar-wai's films with philosophical and aesthetic theories when the world's diverse ideologies competed and disseminated. Then, the two philosophical theories of existentialism and film phenomenology have related connections about humans and nature, which have the opportunity to have a game-like theoretical interpretation with Wong Kar-wai's films, which may better unravel the inner flow of confusion and emotional tension of his films.
Highlights
Since the 1990s, the unique image of Wong Kar-wai's films in the pattern of world cinema is getting more and more appealing throughout the world
The two philosophical theories of existentialism and film phenomenology have related connections about humans and nature, which have the opportunity to have a game-like theoretical interpretation with Wong Kar-wai's films, which may better unravel the inner flow of confusion and emotional tension of his films
As for the search for source of love, the infatuation of sensation, and criticism of materialized reality, Wong kar-war is obviously differ from the new Hong Kong filmmakers of the 1980s and 1990s of "new wave film" and "post-new wave film", such as Hark Tsui and Ringo Lam
Summary
Edmund Husserl(1859-1938), the founder of phenomenology, believes that consciousness has a temporal structure, and it is not possible to analyze the temporality of consciousness until analyzing a temporal object itself.[4]. The distance of absurdity conveys the dual theme of rejection and acceptance emerging from Wong Kar-wai's films. At the beginning of the film, the three minute of opening credits, can be read as a presence of the absurdity of distance between time and space [1]. From the "distance" in Wong Kar-wai's films, we can feel that the individuals are in a "being" situation for the environment and the world. They are experiencing and feeling the world, and their eyes and hearts are perceiving the world. Wong's films have always inadvertently touched on the phenomenology of cinema, outlining the encounters between individuals. His films are filled with a strong atmosphere of emptiness lost in the city, but in reality they are all dense, ineffable individual bodily experience
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