Memories of sound and light: musical discourse in the films of Wong Kar-wai

Abstract

This essay promotes an investigation into the musical discourse in the films ofHong Kong auteur Wong Kar-wai, focusing primarily on the way that music is applied to disrupt narrative time, thus creating what Gilles Deleuze called 'pure optical and sonorous situations'. It also considers the use of popular and preexisting music and the cultural relations established by them, raising the questions of what it means to use songs that are recognizable in a global cultural context, and what they can add to the filmic experience. 197 JCC 2 (3) pp. 197-210

Exploring the Unique Artistic Style in Wong Kar Wai's Films

“…Although Wong is usually known for his striking visual style, music is also the most fundamental and recognised element of his works. [13] Wong is adept at using music to express the inner world of characters and to identify character traits. For example, in Chungking Express, the soundtrack California Dreamin not only evokes emotion and creates atmosphere, but also serves as a tool to identify the character of Faye and mark her appearance.…”

“…De Carvalho writes in his article, "In many of Wong's films, we almost feel that the narrative stops so that characters may express themselves through music or dance". [13] For example, in Days of Being Wild, Yuddy dances the cha-cha to Latin music in front of a mirror, and the wild and unrestrained nature of Latin appears to show the constraints of Yuddy's life and his desire to break free quickly. Moreover, the style and rhythm of Latin music could evoke sentimental emotions.…”

“…Moreover, the style and rhythm of Latin music could evoke sentimental emotions. [13] Similarly, Happy Together features several instances of the beautiful tango, which is supposed to be a dance between two people, but suggests the loneliness and disconnection between Ho Po-wing and Lai Yiu-fai. [13] It is thus clear that Wong Kar Wai attaches importance to the status of music in his films, and the highly expressive musical elements are not only a hallmark of the film's language, but also a reflection of Wong's authorship.…”