The Postmodernity of Wong Kar-Wai’s Films : an Auteur Theory Approach.

• Main Author: 許竹寬
• Other Authors: 井迎兆
• Format: Others
• Language: zh-TW
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/33996596523926207339

碩士 === 中國文化大學 === 戲劇學系 === 98 === Wong Kar-Wai is one of the most outstanding Chinese directors in international movie circle nowadays, and the focus of his movies is novel and the streamer is colorful. In recent years, the Chinese movies are filled with “Chinese style”, but Wong Kar-Wai seems to keep himself out of this trend and continues to finish his unfinished story on his own way. The study theme of this thesis was the movies of Wong Kar-Wai, a Hong Kong director, and his style. The first chapter, “Introduction”, stated the study value and the study method that was used by this thesis, explained “Auteur Theory” briefly, and stated the attitude of “Auteur Theory” that this study had. Regarding all movies of Wong Kar-Wai, their narration unity is not strong, but the characteristic of fragment writing style has the leading role. Uncertain movie style and author intention are one of the main reasons why Wong Kar-Wai’s movies are so post-modern. The second chapter stated the relationship between Wong Kar-Wai and the development of Hong Kong movies, and then the profound expression of post-modernism that was found in Wong Kar-Wai’s movies was discussed thoroughly. In the third, fourth, and fifth chapters, the styles and ideas of Wong Kar-Wai’s seven Chinese movies were analyzed gradually, and the consistent movie theme of Wong Kar-Wai was generalized. The sixth chapter, “Conclusion”, proved the author position of Wong Kar-Wai and indicated the study result of this thesis.