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Université de Montréal The ambivalent identity of Wong Kar-wai’s cinema par Lud

Université de Montréal The ambivalent identity of Wong Kar-wai’s cinema par Ludmila Moreira Macedo de Carvalho Département de Littérature Comparée Faculté des Arts et des Sciences Thèse présentée à la Faculté des études supérieures et postdoctorales en vue de l’obtention du grade de Ph.D. en Littérature option Littérature et cinéma Juin 2009 Copyright Ludmila Moreira Macedo de Carvalho, 2009 Université de Montréal Faculté des Arts et des Sciences Cette thèse intitulée The ambivalent identity of Wong Kar-wai’s cinema présentée par : Ludmila Moreira Macedo de Carvalho a été évaluée par un jury composé des personnes suivantes : Savoy, Eric Président-rapporteur Lu, Tonglin Directrice de recherche Vigo, Julian Membre du jury Liu, Kang Examinateur externe Garneau, Michèle Représentante du doyen de Faculté ii Sommaire Ayant réalisé neuf longs-métrages entre 1988 et 2007, aussi que plusieurs campagnes publicitaires, vidéo-clips, courts-métrages et projets collectifs, Wong Kar- wai est un des réalisateurs contemporains les plus importants actuellement. Issu de l'industrie cinématographique fortement commerciale de Hong Kong, Wong est parvenu à attirer l'attention du circuit international des festivals de cinéma avec son style visuel unique et son récit fragmenté. Considéré par plusieurs critiques comme le poète de la recherche d’identité de Hong Kong après 1997, Wong Kar-wai défie toutes les tentatives de catégorisation. L’étude qui se poursuivit ici a donc pour objet essentiel de fournir une analyse attentive et complète de son oeuvre, tout en se concentrant sur les traits stylistiques qui donnent à ses films une unité. Ces caractéristiques correspondent à une certaine façon de raconter des histoires, de composer des personnages et des récits, de manipuler le temps et d'utiliser des ressources techniques de sorte que ses films offrent une identité cohérente. L'objectif est d'analyser les différents composants de ses images pour découvrir comment ses films communiquent les uns avec les autres afin de créer une identité unique. Pour atteindre cet objectif, je pose comme hypothèse de travail que le cinéma de Wong est marqué par une structure dualiste qui permet à ses films de présenter des qualités contradictoires simultanément. La plupart de mes arguments se concentrent sur le travail du philosophe français Gilles Deleuze, qui a proposé une théorie du cinéma divisé entre l’image-mouvement et l’image-temps. Je considère que sa théorie fournit un cadre valide sur lequel les films de Wong peuvent être projetés. Tandis que ma recherche se concentre sur l’interprétation textuelle des films, je profiterais également d’une analyse comparative. Mots-clés: Wong Kar-wai - Cinéma - Hong Kong - Cinéma Asiatique - Gilles Deleuze - Narratologie - Esthétique iii Abstract With nine feature films released between 1988 and 2007, as well as several advertising campaigns, music videos, short films and collective projects, Wong Kar- wai is one of the most important contemporary filmmakers currently working. Hailing from Hong Kong’s highly commercial film industry, Wong has managed to attract the attention of the international film festival circuit with his visual style and fragmented narrative. Considered by many critics as the poet of Hong Kong’s quest for identity post 1997, his cinema defies every attempt of standardization. The main goal of this study is to provide an attentive and comprehensive study of his body of work, concentrating on the stylistics traits that make his films part of a coherent unity. These characteristics correspond to a certain way of telling stories, of composing situations and characters, of manipulating time and the use of technical resources so that his films offer a coherent identity. The objective is to analyze the different components of his images, to show how his films communicate with each other in order to create something unique. To achieve this objective, I put forward the hypothesis that Wong’s cinema is marked by a dualistic structure that allows his films to present opposite qualities at the same time. Most of my arguments are based on the thoughts of French philosopher Gilles Deleuze, whose own dualistic theory of cinema presented in his books Cinema 1: the movement-image and Cinema 2: the time-image, provides a valid framework upon which Wong’s films can be projected. While the research concentrates on the textual analysis of films, I will also benefit from comparative analysis and additional disciplines. Keywords: Wong Kar-wai - Cinema - Hong Kong - Asian Cinema - Gilles Deleuze - Narratology - Aesthetic iv Resumo Tendo realizado nove filmes de longa-metragem entre os anos de 1988 e 2007, assim como diversas campanhas publicitárias, video clipes, curtas e projetos coletivos, Wong Kar-wai é um dos cineastas contemporâneos mais importantes em atividade. Originário do ambiente fortemente comercial e competitivo que é a indústria cinematográfica de Hong Kong, Wong conseguiu romper limites atraindo a atenção do circuito internacional dos festivais de cinema com seu estilo visual único e narrativa fragmentada. Considerado por muitos críticos como o poeta da busca de Hong Kong por uma identidade pós-1997, Wong desafia qualquer tentativa de categorização. A principal meta deste trabalho é a de fornecer uma análise completa e aprofundada de sua obra, concentrando-se sobre os traços estilísticos que fazem de seus filmes parte de uma unidade coerente. Estas características correspondem a um jeito particular de contar histórias, de desenvolver personagens e situações, de manipular tempo e aspectos técnicos do cinema de maneira que seus filmes ofereçam uma identidade. O objetivo é analisar os diferentes componentes da imagem para mostrar como seus filmes se comunicam entre si para criar algo único. Para atingir este objetivo, eu desenvolvi uma hipótese de trabalho segundo a qual o cinema de Wong Kar-wai é marcado por uma estrutura dualista que permite que seus filmes apresentem qualidades opostas simultaneamente. A maioria dos meus argumentos será baseada no trabalho do filósofo francês Gilles Deleuze, cuja teoria sobre cinema também encontra-se dividida em duas partes, a saber, Cinema 1: imagem-movimento e Cinema 2: imagem-tempo. Eu considero que este trabalho fornece uma base metodológica sobre a qual os filmes de Wong Kar-wai possam ser projetados. Embora minha pesquisa se concentre na interpretação textual dos filmes, eu também me beneficiarei de análises comparativas e de referências provenientes de outras disciplinas. Palavras-chave: Wong Kar-wai - Cinema - Hong Kong - Cinema Asiático - Gilles Deleuze - Narratologia - Estética v Table of Contents Sommaire................................................................................................................... ii Abstract .................................................................................................................... iii Resumo..................................................................................................................... iv Table of Contents....................................................................................................... v List of images ......................................................................................................... viii Acknowledgements................................................................................................... ix Avant-propos ............................................................................................................. x 1 Introduction.........................................................................................................12 1.1 The cinema of Wong Kar-wai.......................................................................12 1.2 Methodological framework: Deleuze’s movement-image and time-image ....18 1.3 The passage from movement-image to time-image: crisis, evolution or coexistence?..........................................................................................................22 1.4 Image, movement, time: Bergson and Deleuze .............................................26 1.4.1 Frame, shot and montage .......................................................................31 2 The perception-image: Wong Kar-wai and classical narrative cinema..................35 2.1 The perception-image: the long shot.............................................................35 2.1.1 Story and discourse in narration.............................................................39 2.1.2 Transparency and self-consciousness in cinema.....................................43 2.2 Locating the narrator ....................................................................................47 2.2.1 The author .............................................................................................47 2.2.2 From implied author to fundamental narrator.........................................50 2.3 Manipulating time ........................................................................................55 2.3.1 Order .....................................................................................................57 2.3.2 Duration ................................................................................................64 2.3.3 Frequency..............................................................................................67 2.4 Delegated narrators.......................................................................................69 2.4.1 Point of view and focalization................................................................79 3 The affection-image ............................................................................................85 3.1 The close-up.................................................................................................85 vi 3.2 The object.....................................................................................................88 3.3 The any-space-whatever ...............................................................................94 3.3.1 From any-space-whatever to a space of disappearance...........................99 3.3.2 Hong Kong’s (anamorphic) space of disappearance .............................103 4 The action-image: Wong Kar-wai and Hong Kong’s generic cinema.................111 4.1 The action-image: the medium shot ............................................................111 4.2 The action-image as generic cinema ...........................................................114 4.3 Hong Kong cinema and its genres...............................................................118 4.4 Wong Kar-wai as generic auteur.................................................................122 5 The Time-image: purely optical and sonorous situations....................................141 5.1 Characteristics of the time-image................................................................141 5.2 Wong’s visual style and the déjà disparu....................................................147 5.3 Purely optical situations..............................................................................152 5.3.1 Rarefaction, or the nostalgic past .........................................................154 5.3.2 Saturation, or the modern urban...........................................................160 5.3.3 Signature style: short films, commercial and music videos...................164 5.4 Purely Sonorous Situations.........................................................................171 5.4.1 Rhythm, repetition and time: the case of Yumeji’s Theme.....................174 5.4.2 Emotional connections: diegetic music and character composition.......180 5.4.3 Latin music and cultural codes.............................................................184 6 Representing time and memory .........................................................................191 6.1 Wong’s cinematic time...............................................................................192 6.2 From description to memory.......................................................................202 6.2.1 Mirror-images and displaced identities.................................................210 6.2.2 The powers of the false........................................................................217 6.3 Repetition and difference............................................................................220 Conclusion..............................................................................................................228 Bibliography...........................................................................................................234 Wong Kar-wai Fan sites......................................................................................245 Wong Kar-wai’s filmography..............................................................................245 Feature Films ..................................................................................................245 vii Collective projects...........................................................................................249 Short films, music videos and television commercials .....................................250 Other films cited .....................................................................................................252 viii List of images 1. Figure 1: Snapshots from Fallen Angels, 2046, My Blueberry Nights and Happy Together (pag. 38) 2. Figure 2: Snapshot from Days of Being Wild (pag. 60) 3. Figure 3: Snapshots from Ashes of Time, In the Mood for Love and Days of Being Wild (pag. 89) 4. Figure 4: Snapshots from In the Mood for Love and 2046 (pag. 90) 5. Figure 5: Snapshots from Happy Together and Chungking Express (pag. 92) 6. Figure 6: Snapshot from Happy Together (pag. 96) 7. Figure 7: Snapshot from Fallen Angels (pag. 98) 8. Figure 8: The Ambassadors (pag. 105) 9. Figure 9: Snapshot from Happy Together (pag. 109) 10. Figure 10: Snapshots from Ashes of Time (pag. 131) 11. Figure 11: Snapshot from As Tears Go By (pag. 151) 12. Figure 12: Snapshot from Chungking Express (pag. 152) 13. Figure 13: Snapshot from As Tears Go By (pag. 161) 14. Figure uploads/Litterature/ moreira-macedo-de-carvalho-ludmila-2009-these.pdf