Mise-en-scene in ‘In the Mood for Love’
Essay on Wong Kar-wai film In the Mood for Love (2000)
– In the Mood for Love, 2000. Directed by Wong Kar-wai
-David Bordwell, “Avant-Pop Cinema”, in Planet Hong Kong (Cambridge, Mass.; London: Harvard University Press, 2nd ed. 2010)
-Chris Berry and Mary Farquhar, “Time and the National: History, Historiology, Haunting”, in China on Screen (New York, N.Y.; Chichester: Columbia University Press, 2006), pp.17-46.
-Rey Chow, “The Everyday in The Road Home and In The Mood For Love: From the Legacy of Socialism to the Potency of Yuan”, in Sentimental Fabulations, Contemporary Chinese Films:: attachment in the age of global visibility (New York; Chichester: Columbia University Press 2007), pp.66-82.
-Tony Williams, “Transnational Stardom: The Case of Maggie Cheung Man-yuk”, Asian Cinema 14/2 (2003), 180-196.
– Michael Curtin, “Independent Studios and the Golden Age of Hong Kong Cinema” and “Hyperproduction Erodes Overseas Circulation”, in Playing to the World’s Biggest Audience: the globalization of Chinese film and TV (Berkeley, Calif.; London: University of California Press, 2007) pp.47-84, and pp.302-3
-Matthew Chew, “Contemporary Re-emergence of the Qipao: Political Nationalism, Cultural Production and Popular Consumption of a Traditional Chinese Dress”, China Quarterly 189 (March 2007), 144-161.
-Gary Bettinson, “Happy Together? Generic hybridity in 2046 and In the Mood for Love”, in Warren Buckland (ed.), Puzzle Films: complex storytelling in contemporary world cinema (Malden, Mass.: Wiley-Blackwell, 2009), pp.167-186.
-Olivia Khoo, “Love in Ruins: Spectral Bodies in Wong Kar-wai’s In the Mood for Love”, in Larissa Heinrich and Fran Martin, Embodied Modernities: corporeality, representation, and Chinese cultures (Honolulu: University of Hawai’i Press, 2006), pp.235-252.
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