| Summary: | 碩士 === 輔仁大學 === 大眾傳播學研究所碩士班 === 104 === As a world renowned film director, Wong has been acclaimed as an auteur who demonstrated unique aesthetic practice in filmmaking. This study will delve into most of Wong’s works, in order to find out how those female characters in the films positioned as opposed to their male counterparts; in the historical development in his filmmaking, and also in all of his works holistically.
Previous literatures showed Wong’s post-modernistic style in filmmaking reveals a female image conformed in the traditional values on the one hand, and revolts to it on the other. While on the whole, the female character in the films developed itself from a traditional one towards a modern one in the course of Wong’s works, however, the study will argue they all possess the definite power to the male character’s destiny. Therefore, the inquiries of the study will be 1. How the films’ “objectified” the female characters, and in the same time could be articulated in challenging the “subjectified” male characters. 2. By analyzing Wong’s works, the study will try to conclude in suggesting the female image constructed through his filmmaking.
There are nine films will be examined in this study, which comprise As Tears Go By, Days of Being Wild, In the Mood of Love, Chungking Express, Fallen Angels, Ashes of Time, and The Grandmaster. As film critics has pointed out, some of the female characters in Wong’s works, appeared to be related in term of characterization. As a result, the study will look into these films divided into 4 groups according to their generic traits, namely angry-young men, nostalgia of the 1960s, asphalt jungle and sword-fighting. Accordingly, the study will employ research methods concerning both textual and narrative analysis. While a diachronic study will be emphasized, a synchronic approach will also be considered; hopefully, a cross-examined process will reify a comprehensive female image in the film.
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