Overcoming Antisemitism: A GalleryApril 12, 2021
Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics. A Live Conversation with Elizabeth Otto (Interactive Group Video Session – 15th June 2021)April 25, 2021
It is assumed that genre films lack artistic merit, unoriginal in concept and lacking the vision of the auteur director but whether it is a gangster film or an examination of a Hollywood style romance, Wong Kar Wai takes the form of the genre and deliberately confuses us. Some describe him as a post-modernist filmmaker, others reject this label.
Reviving the European tradition of the director as auteur, he combines Western techniques with classical Taoist scroll painting. His palette may be monochrome or may dazzle with saturated vivid colours from a more painterly palette.
He stresses location and examines these in great detail, bombarding us as observers with a multiplicity of perspectives and playing with our perception of time. Music has been described as “activating” the visual brilliance of Wong Kar Wai’s films.
Looking mainly at In the Mood for Love and Fallen Angels, we will examine what some have described as the “mysterization” of everyday life.
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