Hong Kong Movie - Wong Kar-wai

Human Issues and Social Concern

Human issues and social concern are among the most eye-catching themes in Wong Kar-films, Wai’s and they dominate most of his setups. The richest culture in the world, according to the Asian cultural repository, is Asia. Many academics view the Hong Kong film industry as an arena of diverse cult and human affairs portrayal. Many academics believe that Wong Kar-films Wai’s demonstrate a variety of perspectives on love, romance, time, music, and fashion that are based on Hong Kong movies. Wong Kar-Wai is a legend in not only the Asian movie industry but also in the global face. He uses unique aspects of films in his movies for time immemorial. The most prominent aspect of these includes the title in the plays. The cinematic bond of contention enhances the connection with the audience in a variety of ways. In the collection of the various essays, Martha illustrates numerous topics on the movies as acted by the author. Love is a common element in the essays. Illustrated as an aspect of the Asian culture, the range of social organizational elements explains the context of scholarly perspectives peculiarly.

Comparisons and Contrast

There are numerous similarities on the aspects of the Asian culture of fashion, love, and individuality that potentially exist in the movies according to many scholars. Moreover, sexuality is a common aspect of most movies in the industry. Nonetheless, many scholars explain their differences in opinion as a matter of development in the same field. Notably, the following lifestyle and compassion aspects dominate the themes in most movies by Wong Kar-wai. Hitherto, keen references lie on the predominant movies as identified prior.

Fashion and the Media

According to Nochimson, photography and the media aspects embraced in a majority of Wong’s movies may explain the content of lifestyle and fashion in various contexts. First, in the Fallen Angels, a character named Wong satirically takes a photo with a mother and a kid to jumpstart the moments of his history contrary to Yuddi’s focus on his roots in the country. Consequently, the media post derives the attention of many people who relates the snap with a history in the film “The Blade Runner” in the image of a young Rachel and the parent.

On the contrary, Olivia digs into aspects of “days of being wild” and postulates that the media plays an important role in the rise of diversified cultural evolution. This way, it is arguable that the media bears a potential boost in the rise of technological input over fashion and lifestyle. This fact is common according to many authors in the same industry. Hence, one can, validly, claim that these aspects of compassion and fashion relate in a conspicuous manner irrespective of the external influences. Ideally, the media has numerous roles on the welfare of people in the society. First, it is the most influential channel through which personalities receives identity and the tag as fashion ate beings in the society. In addition, the media as photography serve as the best memory grant in the history of film and autobiographies. Hence, the consistent use of the media tools and photo industry helped Wong in the prospect mission of culture analysis (Olivia, 740).

In addition, the prominent movie sectors like the famous Hollywood marks the connecting bond between audience and the media. This way, characters used in most of the Hong Kong movies match the demand of the modernity in the society. In fact, the Hong Kong society is a typical illustration of a transforming sector of the industry. Nevertheless, the content of Wong based on Olivia’s articulation may help us understand the film arena as a global revelation of most of the norms going on in the societies. On the hand, ideological differences, comprehensively, demonstrate that the industry values the relationships in the media.

The other elements of media in the industry include the use of music and entertainment to foster audience appeal in movies in the same segment. Possibly, this marks the imperative correlation in the industry. Prominently, the social media used in the current regime is an illustration of the relationship between the film industry and the media. Currently, tools for social media such as the You Tube as well as interaction platforms help the industry to display the competence of personalities in the same sector as noted in most of the works in Hong Kong movies. Perhaps, Wong’s agenda may help to boost the mainstreaming of the industry as a dynamic contempt.

Reign of Impermanence

Conspicuous in literary assertions, Martha articulates that, among the most important concerns in the excellence of the essays, the impermanence of situations is a common play in Wong’s works (Nochimson, 45). The periods in the cinema works navigates through reigns of impermanent changes within the background of the authors. It is also that most of the films in ancient times evolved tremendously to pave way for the diversity in revolution and evolution within the communities. In documenting the variety of Wong’s work, the author presents numerous explanations regarding the context of progressive changes in every sector of filming and movies. Ideally, the three author tend to agree on the state of the event as impermanent as it exists in the public domain. However, stratified manipulation may demystify the contentious aspects of progressive changes in the society and explains the sobriety of the actions as part of the communities.

Predominantly, the scholars argue that the aspect evident in the choice of characters in the plot. In the plots of “As tears go by”, “Fallen angels” as well as “Chungking express”, several characters are Hong Kong residence. However, most of them reside in different status of social welfare. Contrariwise, ideal contexts of personality representation change continuously in a variety of movies. According to Khoo and Olivia, the characters in most movies transcends into numerous weaknesses of the socio-economic impacts of politics and migration cases in the list of humanity and development (730).

Additionally, the case may help us visualize the age of transformation in the society. These may prompt the concern of modern intellectuals to interact with the context of Hong Kong in the culture. Therefore, the use of persuasive words as the movie content will demonstrate inclusiveness in the evolution progress. It would be ideal to demonstrate the prospects of change in Wong’s manner as presented than diversifying the management of numerous characters in a movie.

The Contrasts in Love Affairs

Marchetti and Gina (2016) consider Wong as the predominant postmodernist in the film industry. His articulation on love and women portrays a typical illustration of the main concerns in the modern society. In the film “Days of being wild”, Wong presents a poor woman, Su, falling in love with the rich, Yuddi, at a time when the society might desire a matching lifestyle among couples. Surprisingly, such facts tend to exist in Khoo’s cultural remarks. There is a huge deviation from the norms of many communities in the culture. In contrast, Gina asserts that love is a common element of the existence that sometimes transcends the boundaries of culture and diversity. His assertion draws from the impacts of sexuality and genders mainstreaming in the context of China and Asia (590-600).

Moreover, the cultural background of the two characters bears typical differences according to Nochimson. Thus, the context of social setups exploited the impacts of cultural roots in family affairs. I think the socio-cultural boundaries in any community can act as a barrier to effective relationships. Yuddi ends up in a miserable lifestyle that makes him regret much of history with Su. Typical in the contemporary, the Hong Kong Movies portrays the contextual characters of individuals in many aspects of human welfare. Interestingly, love is a show of connection in humanity and compassion. It is true that the aspects of love are potentially usable in films to illustrate the content of play in movies. Thus, time aspects of the culture may bear influence on an individual’s history in love affairs as well as the communal organization of such community.

Opinion

It is clear that most of the movie contents of Wong Kar-Wai transfer into the contextual morals of the society. The application of music and literary tools help the author to demonstrate their skills in the manipulation of action in the movie industry. Conventionally, theatrics helps the industry to enhance effective reasoning in the industry through the involvement of contemporary issues in the global resume. Most of the works of Wong Kar-Wai demonstrate mastered skills in filming and categorical use of human compassion. Thus, most of the movies have a deep sense of the social standards.

Conclusion

Concisely, Wong Kar-Wai’s works in the films industry have a huge impact on the evolution of movies. There are clear connections between cinematic aspects of the films and the postmodern concerns in the many cults within the framework. Hitherto, several scholars consider his works as a critical aspect in this sector of art and literature as very crucial for development. Most of the movies touch on the general organization of the human ecological niche. Notably, the major concerns dwell around matters of human compassion, the role of the media, gender aspects, timing in movies, and the changes in fashion and aesthetics. In addition, numerous economic influences as to politic distinction create a potential threat to cinema progress. It is agreeable that most of the works derive from the contemporary societies.

Work Cited

Nochimson, Martha P., Ed. A Companion to Wong Kar-wai. Vol. 13. John Wiley & Sons, 2015.

Marchetti, Gina. “Handover women: Hong Kong women filmmakers and the intergenerational melodrama of infidelity.” Feminist Media Studies 16.4 (2016): 590-609.

Khoo, Olivia. “Wong Kawaii: Pop Culture China and the Films of Wong Kar‐wai.” The Journal of Popular Culture 47.4 (2014): 727-741.