The idea that the human body consists of'subtle bodies'-psycho-spiritual essences-can be
found in a variety of esoteric traditions. This radical form of selfhood challenges the dualisms …

This essay takes Wong's evocation of tête-bêche as a point of departure for an exploration of
intersection in the film. Two practices of tête-bêche as intersection are evident in IMFL. First …

Wong Kar-wai is undeniably an auteur of striking and salient cinema, standing apart from
much mainstream Hong Kong cinema. Wong belongs to the mid-1980s Second New Wave …

This article presents a critical analysis of the motion picture 2046 directed by Wong Kar Wai.
In the film, an inscrutable opening shot denies the viewer any fixed sense of place. Adding to …

This article explores the deployment of diverse esthetic systems to capture the time-space of
the 1990s global cityscape through the works of Hong Kong filmmaker Wong Kar-Wai and …

It is not an exaggeration... to state that Chinese film scholars in the West now have two
choices: follow the Orientalist trend and perpetuate a myth that reduces China to rural China …

Invoking key concepts from the philosophical writings of Gilles Deleuze and Giorgio
Agamben, The Dark Interval examines a subtle but distinct iconography of passivity, stillness …

Abstract Polley views Hong Kong from many angles: population demographics, critical
theory, vernacular criticism, the media, and autobiography. These intersect in the work of …

Wong's style prompts reflection on the flow of experience in the present moment and
articulates how it is corporeally meaningful. Wong accomplishes this through careful …

Summary This chapter studies Wong Kar‐wai's 1960s Hong Kong trilogy–Days of Being
Wild (1990), In the Mood for Love (2000), and 2046 (2004)–with the goal of addressing two …