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WKW : A Cinema of the Exappropriation

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Behind appearances, behind the multitude of the modern megalopolises (Hong Kong, Buenos Aires), the cinema of Wong Kar-Wai underlines an architectonic of the primary esseulement: solitudes, as in The Days of Being Wild, Chungking Express or Fallen Angels, which are just added up, only joined side by side; which never draw up a whole and never merge in a common-ity; which never cancel each other out as pluralities. Even through the kindness of the other, through the willingness (when it exists) of the other, I am deterritorialized, I miss the sol under my sol-itude.

Keywords: Otherness; Wong Kar-Wai; love; nationalisation; nationalism; territory

Document Type: Research Article


Affiliations: University Charles-de-Gaulle Lille

Publication date: September 1, 2005

More about this publication?
  • Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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