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This demonstrates the emphasis on personal experience in this film.
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These are used partially to propel the film’s narrative, as they provide general exposition, however their main purpose seems to be in communicating the main characters’ internal feelings and thoughts. Wong’s experimentation in this sequence can be seen in his use of voiceover. This is as their relationship is not yet made clear. Enigma is created when we see the man following the same routine as the woman climbing the escalator, reaching inside the window for the key etc. We can also see Wong’s emphasis of emotion and mood in the montage sequence of the woman cleaning the apartment – this is purposefully drawn out to help highlight the film’s aesthetic quality. This shows Wong’s rejection of linearity. For instance, the opening shot is a flash-forward, as we find out later. In terms of narrative, Wong’s auteurship is present here, also. These both help generate the film’s dream-like aesthetic and demonstrate Wong’s expressionist approach to filmmaking. For instance, the prolonged, slow-motion shot of the woman leaving the restaurant and the step-printing effect as the man leaves the apartment. Some of Wong’s signature techniques can be seen later in the sequence. The juxtaposition of her voiceover monologue and the restaurant’s general chatter reinforces this reading, especially when she says, “Most people work 9 to 5. Cinematographic experimentation continues here with Wong’s use of a fish-eye lens – this produces an unflattering, close-up view of the woman’s face, communicating the film’s theme of loneliness by framing her against groups of other people in the background – a recurring theme in Wong’s oeuvre. Wong’s use of ellipsis editing throughout this sequence helps build atmosphere and contributes to his expressionistic representation of time. The experimental cinematography throughout this sequence further demonstrates Wong and Doyle’s auteurship – for instance, the diffused lighting, which generates a woozy, dream-like aesthetic and the paparazzi-like, handheld camerawork. Wong’s experimentation is also identifiable here – he has implemented a black-and-white colour scheme perhaps to signify that this scene is a flash-forward. In Fallen Angels, some of these techniques include the use of a fish-eye lens, Eastern colour theory and a neon aesthetic.Īnalysing the film’s opening sequence, Wong’s auteurship is immediately identifiable in the film’s opening shot: a Dutch tilt has been used to disorientate the spectator, generating a feeling of unease. This flexibility enables Wong to experiment in each of his productions. Wong is also known for his impromptu approach to filmmaking – for instance, he finds finished scripts “boring”, instead preferring to improvise on set, and doesn’t like to storyboard his shots either. His distinctive aesthetic is also due in part to Christopher Doyle, his director of photography, and William Chang, his production and costume designer, who both can be considered co-auteurs of Wong’s style.
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Other trademarks of his auteurship include step-printing, slow-motion, off-centre framing and a use of Western pop songs. Wong is often regarded as an auteur of cinema he is known for his beautiful visuals, emphasis on mood and disjointed ‘music video’ narratives. Like Chungking Express, Fallen Angels is a poetic and personal story focused on the character’s emotions and experiences rather than plot development or narrative. Originally it was the third act of Chungking Express, Wong’s previous cinematic venture, however, once he realised that the film would be too long he removed the story and made it into its own stand-alone film. Fallen Angels (1994) is an experimental film directed by Wong Kar-wai that focuses on themes of love, alienation and obsession.