Abstract
This chapter explores the representation of time in the films of Hong Kong director Wong Kar-wai. Wong’s films display a strong fascination with temporality, its construction, deconstruction, fragmentation, reconstruction, projection, and retrospection. Memory, nostalgia, and amnesia are recurrent motifs in Wong’s films. His film art embodies the principles of the “time-image” in modern cinema, which is a cinema of fragmentation, self-reflexivity, paradox, double and multiple temporalities, non-linear narrative, and inconclusive endings. Using Gilles Deleuze’s concepts of “movement-image” and “time-image,” the chapter looks at various configurations of time in Wong Kai-wai’s films. It focuses especially on Wong’s informal trilogy: Days of Being Wild (1990), In the Mood for Love (2000), and 2046 (2004), in which Wong uses exemplary time-images to explore problems of time and memory in the changing geopolitical and psychosocial landscapes of Hong Kong, attempting to open up a space for its past to negotiate with its unknown future.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
