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Repression and Release in Wong Kar-wai's In the Mood for Love (2000)
| DC Field | Value | Language |
|---|---|---|
| dc.contributor.advisor | 장우진 | - |
| dc.contributor.author | Yang Juan | - |
| dc.date.accessioned | 2022-11-29T02:31:56Z | - |
| dc.date.available | 2022-11-29T02:31:56Z | - |
| dc.date.issued | 2014-08 | - |
| dc.identifier.other | 17873 | - |
| dc.identifier.uri | https://dspace.ajou.ac.kr/handle/2018.oak/19411 | - |
| dc.description | 학위논문(석사)--아주대학교 일반대학원 :미디어학과,2014. 8 | - |
| dc.description.tableofcontents | Acknowledgements i Abstract iv Chapter 1 Introduction 1 1.1 Background 1 1.2 Literature review 5 1.3 Goal 7 1.4 Approach and structure 8 Chapter 2 Wong Kar-wai’s nostalgia 11 2.1 Origin of Wong Kar-wai’s nostalgia 12 2.1.1 Wong Kar-wai’s biography 14 2.1.2 Hong Kong in the 1960s through Wong Kar-wai’s eyes 20 2.2 How to recreate the actuality 24 2.2.1 Trace memories in the past 25 2.2.2 Focus on people’s feelings 27 2.3 Hong Kong people in the 1960s 29 2.3.1 Tension between the East and the West 30 2.3.2 Tension between individual desire and social ethics 32 Chapter 3 Implicatures analysis 35 3.1 Visual grammar of Gunther Kress and Theo Van Leeuwen 35 3.1.1 Representational structure 37 3.1.2 Interaction 43 3.1.3 Compositional implicatures 46 3.2 Implicatures in In the Mood for Love 47 3.2.1 Implicatures in films 47 3.2.2 A proposed framework for analyzing films 51 3.2.3 Analysis of implicatures in In the Mood for Love 52 Conclusions 61 Bibliography 64 | - |
| dc.language.iso | eng | - |
| dc.publisher | The Graduate School, Ajou University | - |
| dc.rights | 아주대학교 논문은 저작권에 의해 보호받습니다. | - |
| dc.title | Repression and Release in Wong Kar-wai's In the Mood for Love (2000) | - |
| dc.type | Thesis | - |
| dc.contributor.affiliation | 아주대학교 일반대학원 | - |
| dc.contributor.department | 일반대학원 미디어학과 | - |
| dc.date.awarded | 2014. 8 | - |
| dc.description.degree | Master | - |
| dc.identifier.localId | 652572 | - |
| dc.identifier.url | http://dcoll.ajou.ac.kr:9080/dcollection/jsp/common/DcLoOrgPer.jsp?sItemId=000000017873 | - |
| dc.subject.keyword | Actuality | - |
| dc.subject.keyword | Hong Kong people | - |
| dc.subject.keyword | Implicatures | - |
| dc.subject.keyword | Nostalgia | - |
| dc.subject.keyword | Repression | - |
| dc.description.alternativeAbstract | Rather than focusing on an aesthetic or highly political discussion, this thesis examines Wong Kar-wai’s cinematic nostalgia. Distinguishing with restorative nostalgia, Wong’s cinematic nostalgia belongs to reflective nostalgia, which emphasizes on the relationship between past and present rather than the reconstruction of origin past. In terms of historical analysis, Hoover and Stokes consider the anxiety reflected in Wong Kar-wai’s films as a result of the concern for Hong Kong’s handover in 1997 . However, the author argues that Wong Kar-wai’s identity as a member of the Shanghai immigrants cannot be overlooked. In chapter 2, the author examines Wong Kar-wai’s cinematic nostalgia. As an auteur, Wong Kar-wai’s nostalgia is self-expression rather than historical writing. Through the character-centered details, Wong recreates the actuality of Hong Kong people in the 1960s. Accordingly, the author re-positions Wong Kar-wai’s films within the cultural context and recognizes the highlight of repression and release about Hong Kong people in the 1960s. Furthermore, the tension between repression and release, which is conveyed by indirect expressions, can be indentified through implicatures in the film. In light of that, in chapter 3, this thesis offers a study of implicatures in Wong Kar-wai’s cinematic nostalgia. In order to examine the tension between repression and release in Wong Kar-wai’s cinematic nostalgia, the author takes Wong Kar-wai’s film In the Mood for Love (2000) as a text and selects four scenes from the film to illustrate the tension between repression and release about the characters. | - |
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- Graduate School of Ajou University > Department of Media > 3. Theses(Master)
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