Neo-noir (English: New-black; from the Greek neo, new; and the French noir, black) is a style often seen in modern motion pictures and other forms that prominently utilize elements of film noir, but with updated themes, content, style, visual elements or media that were absent in films noir of the 1940s and 1950s.

History[link]

The term film noir (French for "black film") was coined by critic Nino Frank in 1946, but was rarely used by film makers, critics or fans until several decades later. The classic era of film noir is usually dated to a period between the early 1940s and the late 1950s. Typically American crime dramas or psychological thrillers, films noir^[a] had a number of common themes and plot devices, and many distinctive visual elements. Characters were often conflicted antiheroes, trapped in a difficult situation and making choices out of desperation or nihilistic moral systems. Visual elements included low-key lighting, striking use of light and shadow, and unusual camera placement.

Although there have been few new major films in the classic film noir genre since the early 1960s, it has nonetheless had significant impact on other genres. These films usually incorporate both thematic and visual elements reminiscent of film noir. Both classic and neo-noir films are often independent features.

It was not until after 1970 that film critics began to consider "neo-noir" as a separate genre by its own definition. However, noir and post-noir terminology (such as "neo-classic", "hard-boiled”, etc.) in modern application are often disclaimed by both critics and practitioners alike due to the obscurity of such an unrefined genre. For example, James M. Cain, author of The Postman Always Rings Twice and Double Indemnity, is considered to be one of the defining authors of hard-boiled fiction. Yet, Cain is quoted as saying, "I belong to no school, hard-boiled or otherwise, and I believe these so-called schools exist mainly in the imagination of critics, and have little correspondence in reality anywhere else."^[1]

Unlike classic noirs, neo-noir films are aware of modern circumstances and technology—details that were typically absent or unimportant to the plot of classic film noir. In the films of the early 1940s and '50s, audiences are led to understand and build a relationship with the protagonist or anti-hero. Neo-noir films of post-1970 often reverse this role. Unconventional camera movements and plot progression remind them that they are merely watching the film and not partaking in the story.

Modern themes employed in neo-noir films include identity crises, memory issues and subjectivity, and—most importantly—technological problems and their social ramifications. Because these fundamental elements are as ambiguous in practice as their definitions, film theorists^[who?] argue that the term "neo-noir" can be applied to other works of fiction that similarly incorporate such motifs. Robert Arnett states that "Neo-noir has become so amorphous as a genre/movement, any film featuring a detective or crime qualifies."^[2] It is because of this genre's ambivalence that neo-noir is still shaped and interpreted so malleably today.

Others^[who?] have noted that films like After Dark, My Sweet and Hard Eight are neo-noirs that seamlessly combine the noir genre with elements of the Western genre in terms of setting and themes.

See also[link]

• Cyberpunk
• List of film noir titles

Notes[link]

References[link]

Bibliography[link]

• Arnett, Robert (Fall 2006). "Eighties Noir: The Dissenting Voice in Reagan's America". Journal of Popular Film and Television 34 (3): 123–129. 
• Conrad, Mark T. (2007). The Philosophy of Neo-noir. Lexington, Ky.: The University Press of Kentucky. ISBN 0-8131-2422-0.  The Philosophy of Neo-noir at Google Books.
• Hirsch, Foster (1999). Detours and Lost Highways: A Map of Neo-Noir. New York: Proscenium Publishers. ISBN 0-87910-288-8.  Detours and Lost Highways: A Map of Neo-Noir at Google Books.
• Martin, Richard (1997). Mean Streets and Raging Bulls: The Legacy of Film Noir in Contemporary American Cinema. Lanham, Md.: Scarecrow Press. ISBN 0-8108-3337-9. 
• Snee, Brian J. (July 2009). "Soft-boiled Cinema: Joel and Ethan Coens' Neo-classical Neo-noirs". Literature/Film Quarterly 37 (3). http://www.thefreelibrary.com/Soft-boiled+cinema%3a+Joel+and+Ethan+Coens'+neo-classical+neo-noirs.-a0204565670. 

Notes[link]

External links[link]

• An Introduction to Neo-Noir at Crime Culture by author Lee Horsley
• Neo-Noir Grosses at Box Office Mojo

Wong Kar-wai 王家衛
Wong Kar-wai, September 2008
Chinese name	王家衛 (Traditional)
Chinese name	王家卫 (Simplified)
Pinyin	Wáng Jiāwèi (Mandarin)
Jyutping	Wong4 Gaa1wai6 (Cantonese)
Origin	Hong Kong
Born	(1958-07-17) 17 July 1958 (age 53) Shanghai, China
Occupation	Film director
Years active	1982–present
Awards Hong Kong Film Awards Best Director 1991 Days of Being Wild 1994 Chungking Express Best Picture 1991 Days of Being Wild 1994 Chungking Express Golden Bauhinia Awards Best Hong Kong Film of Past 10 Years 1997 Days of Being Wild Hong Kong Film Critics Society Awards Best Film 1994 Ashes of Time Best Screenplay 1994 Ashes of Time Best Director 1994 Ashes of Time 2000 In the Mood for Love Film of Merit 1995 Fallen Angels 1997 Happy Together 2000 In the Mood for Love 2004 2046 Other awards Best Director Award (Cannes Film Festival) 1997 Happy Together César Award for Best Foreign Film 2000 In the Mood for Love NSFC Award for Best Foreign Language Film 2001 In the Mood for Love NYFCC Award for Best Foreign Language Film 2000 In the Mood for Love 2004 2046

Wong Kar-wai BBS (born 17 July 1958) is a Hong Kong Second Wave filmmaker, internationally renowned as an auteur for his visually unique, highly stylised, emotionally resonant work, including Days of Being Wild (1990), Ashes of Time (1994), Chungking Express (1994), Fallen Angels (1995), Happy Together (1997) and 2046 (2004). His film In the Mood for Love (2000), starring Maggie Cheung and Tony Leung, garnered widespread critical acclaim. Wong's films frequently feature protagonists who yearn for romance in the midst of a knowingly brief life and scenes that can often be described as sketchy, digressive, exhilarating, and containing vivid imagery.^[1]

Wong was listed at number three on the British Film Institute's Sight & Sound Top Ten Directors list of modern times.^[2]

Early career[link]

Born in Shanghai, he moved to Hong Kong with his parents at the age of five. Coming from the Mainland and speaking only Mandarin and Shanghainese, he spent hours in cinemas with his mother. After graduating from Hong Kong Polytechnic College in graphic design in 1980, he enrolled in the Production Training Course organised by Hong Kong Television Broadcasts Limited (TVB) and became a full-time television screenwriter. In the mid-1980s, he became a screenwriter/director at The Wing Scope Co. and In-gear Film Production Company, the production houses owned by renowned Hong Kong actor /movie producer Alan Tang. Wong's current nostalgic artsy style took shape during his apprenticeship with Alan Tang Kwong-Wing, who invested in the first movie Wong directed, As Tears Go By (1988). Wong's career took off when he directed the film Days of Being Wild (1990), despite losing Alan Tang millions of invested dollars. Wong subsequently graduated to feature film work. He is credited with about ten scripts between 1982 and 1987, covering an array of genres from romantic comedy to action drama, but claims to have worked to some extent or another on about fifty more without official credit.^[3] He considers Final Victory (最後勝利, 1986), a dark comedy/crime story for director Patrick Tam Kar Ming, his best script.

Work as director[link]

Feature films[link]

He made his directing debut in 1988 with As Tears Go By, also produced by Alan Tang. A crime melodrama of the kind then hugely popular, it heavily borrowed from Martin Scorsese's Mean Streets (1974), but already displayed one of Wong's principal trademarks in its atmospheric and sometimes expressionistic color palette. It is his only box office hit to date.

His next film, Days of Being Wild (1990), produced by Alan Tang, a drama about aimless youth set in the early 1960s, established his trademark form: elliptically plotted mood pieces, with lush visuals and music, about the burden of memory on melancholic, misfit characters. Days was a box office failure but now regularly tops Hong Kong critics' polls of the best local films ever made. It has been described as a sort of Cantonese Rebel Without a Cause.

He also established his own independent production company, called Jet Tone Films Ltd. in English. His partner in the company is Jeffrey Lau, a director and producer who tends to work closer to the populist vein of mainstream Hong Kong film.

Wong went on to direct several more feature films in the 1990s produced by Jet Tone, which allowed him to work at his own pace. Among these were Chungking Express (1994), which follows the lives of two love-struck cops in Hong Kong and the mysterious women they meet and fall in love with. Originally intended to be a distraction piece for him to get his mind off of the heavily delayed Ashes of Time, it ended up being one of his most popular films. Fallen Angels (1995), was originally intended to be the third act of Chungking Express, but when the tone didn't fit with the other two parts, he cut it out and made it a standalone movie instead; it is seen as a semi-sequel to Chungking Express as is a neo-noir film about on a disillusioned killer trying to overcome the affections of his partner, a strange drifter looking for her ex-boyfriend, and a mute trying to get the world's attention in his own ways, all set against a sordid and surreal urban nightscape.

Wong's fourth movie, Ashes of Time (1994), released between Chungking Express and Fallen Angels, applied his approach to a star-studded wuxia (martial arts swordplay) story; the desert shoot in Mainland China dragged on for over a year and resulted in one of contemporary Hong Kong cinema's most notorious commercial disasters.

His first major international recognition was at the 1997 Cannes Film Festival where he won the Best Director prize for Happy Together (1997).^[4] A film that "uses gorgeous, saturated images set to an eclectic soundtrack of tango by Argentinian maestro Astor Piazolla, Brazilian singer Caetano Veloso and Frank Zappa instrumentals to chronicle the stormy affair of a gay couple living as expatriates in Buenos Aires."^[5]

Despite his background as a screenwriter, one of Wong's trademarks as a director is that he works largely through improvisation and experimentation involving the actors and crew rather than adhering to a fixed screenplay. This has been a frequent source of trouble for his actors, his financial backers and many other people connected with his films, including sometimes himself.

The filming of In the Mood for Love (2000) had to be shifted from Beijing to Macau after the Chinese Film Bureau demanded to see the completed script. This was all in all a minor setback in the "very complicated evolution" of the project which goes as far back as 1997. It was Wong's intention to make two films, one of which would be titled Beijing Summer, the plot unclear at the time, but eventually taking form in Macau. Here Wong planned to call it Three Stories About Food, but saw it better to settle for only one story, A Story About Food, that centres on a writer. Together with scenes shot in Bangkok and Angkor Wat, the filming took as long as 15 months. This was an especially arduous time for lead actress Maggie Cheung whose hair and makeup reportedly took a daily five hours, and who appeared in many different cheongsams. She famously compared the lengthy shoot to a cold she couldn't get rid of. Working without deadlines, the film's upcoming premier at Cannes nonetheless put some pressure on Wong to finish editing. Intending to name the film Secrets he was dissuaded by Cannes, and finally named it In the Mood for Love after listening to Bryan Ferry's cover of the song "I'm in the Mood for Love."^[6][7]

Wong's 2046 (2004), a film about capturing lost memories, was the third chapter of a shared story that began with Days of Being Wild and continued with In the Mood for Love. Infamous for long drawn out shoots without any real regards to deadlines, a running joke amongst the crew was that he would finish in the year 2046.

In 2006, he became the first Chinese director to preside the jury at the Cannes Film Festival.

Wong Kar-wai's first full English-language film, My Blueberry Nights, opened the 2007 Cannes Film Festival as one of 22 films in competition. The lead, American singer-songwriter Norah Jones, made her acting debut in the film.

Wong Kar-wai was the jury president of the 2008 Shanghai International Film Festival which was held from 14–22 June 2008.

Wong Kar-wai's "The Grandmasters" will release in North America through Annapurna Productions.^[8]

Casting[link]

Wong frequently re-casts actors who he has worked with on previous movies:

Actor	As Tears Go By (1989)	Days of Being Wild (1990)	Ashes of Time (1994)	Chungking Express (1994)	Fallen Angels (1995)	Happy Together (1997)	In the Mood for Love (2000)	2046 (2004)	Eros (2004)	My Blueberry Nights (2007)	The Grandmasters (2012)
Chang Chen						N		N	N		N
Jacky Cheung	N	N	N
Leslie Cheung		N	N			N
Maggie Cheung	N	N	N				N	N
Takeshi Kaneshiro				N	N
Andy Lau	N	N
Carina Lau		N	N					N
Tony Leung Chiu-Wai		N	N	N		N	N	N			N
Gong Li								N	N
Brigitte Lin			N	N
Rebecca Pan		N					N
Faye Wong				N				N
Charlie Yeung			N		N
Zhang Ziyi								N			N

Short films[link]

Wong Kar-wai has directed various short films, television commercials, music videos, or combinations thereof, all faithful to his style.

Commercials[link]

In 1996 he shot wkw/tk/1996@7′55″hk.net for Japanese designer Takeo Kikuchi, starring Tadanobu Asano and Karen Mok; in 1998 he did a commercial for Motorola starring Tadanobu and Faye Wong;^{[9][10][11][12][13]} in 2000 he produced a commercial for Suntime Wine with Tony Leung Chiu Wai and Maggie Cheung,^[14] and directed another one for JCDecaux, Un matin partout dans le monde, featuring different kinds of dawns in cities around the world shot by famous movie directors;^[15] in 2001 he shot the TV spot Dans la ville for the French mobile network company Orange France^[16] and the short film The Hire: The Follow as part of the BMW films initiative; in 2002 he directed La Rencontre, a commercial for Lacoste starring Chang Chen and Diane MacMahon;^[11][17] in 2005 he filmed an ad for Dior's Capture Totale perfume starring Sharon Stone. Around 21 September 2006, in Prague, he directed a commercial (released in early 2007) for Lancôme Paris's Hypnôse Homme perfume starring Clive Owen and Daria Werbowy. Around 25 June 2007, again in Prague, he directed a set of commercials for SoftBank, starring Brad Pitt. Also in 2007 he directed an ad for Dior's Midnight Poison perfume starring Eva Green and featuring Muse's song "Space Dementia". On 30 August 2007, "There's Only One Sun", a short film he scripted and directed for Philips' Aurea HD Flat TV, starring Amélie Daure, premiered at the IFA in Berlin.

Music videos[link]

In 2000 Wong directed a music video of Tony Leung's duet with Niki of a song from the In the Mood for Love soundtrack to be included in Tony Leung's CD by the same name and on the French DVD release of In the Mood for Love. In 2002 Wong made the music video Six Days for DJ Shadow featuring Chen Chang and Danielle Graham.^[18]

Short film[link]

His short film Hua Yang De Nian Hua is a montage of scenes from vintage Chinese films, most of which were considered lost until some nitrate prints were discovered in a California warehouse during the 1990s, set to a song from the soundtrack of In the Mood for Love, it was shown at the 2001 Berlin International Film Festival.^[19]

Filmography as director[link]

Feature films[link]

Short films[link]

Screenwriter and producer[link]

Wong is officially credited with about ten screenplays while having worked on another fifty in one way or another before his directorial debut. He has yet to direct a feature based on a script other than his own (though Ashes of Time was rather loosely adapted from a Louis Cha novel), which would be highly unlikely considering his method of improvisation. Wong, through Jet Tone, is also the producer of all of his own films since 1993 with the exception of Ashes of Time, a project that began much earlier. Through Jet Tone or otherwise, Wong has also produced various films, some directed by his partner in the company, Jeffrey Lau. Here are lists of films other than his own that Wong wrote screenplays for or produced:

Writing credits:

Once Upon a Rainbow (1982), Just for Fun (1983), Silent Romance (1984), Chase a Fortune (1985), Intellectual Trio (1985), Unforgettable Fantasy (1985), Sweet Surrender (1986), Rosa (1986), Goodbye My Hero (1986), The Final Test (1987), Final Victory (1987), Flaming Brothers aka Dragon and Tiger Fight (1987), The Haunted Cop Shop of Horrors (1987), The Haunted Cop Shop of Horrors 2 (1988), Walk On Fire (1988), Return Engagement (1990), Saviour of the Soul (1992).

Producer:

Flaming Brothers aka Dragon and Tiger Fight (1987), The Eagle Shooting Heroes (1993), First Love: the Litter on the Breeze (1997), Chinese Odyssey 2002 (2002), Sound of Colors (2003).

Collaborations[link]

In October 2011, Wong collaborated with Shu Uemura on a 12-piece makeup range inspired by his films. To promote the collection, he produced a short film called The Mask, which he shot exclusively for Shu Uemura and stars the Taiwanese beauty Sandrine Pinna.^[20]

Awards[link]

• 1991 Hong Kong Film Awards, Best Director (Days of Being Wild)
• 1995 Hong Kong Film Awards, Best Director (Chungking Express)
• 1997 Cannes Film Festival, Best Director (Happy Together)^[4]
• 2000 European Film Awards, Screen International Award (In the Mood for Love)
• 2001 César Award, Best Foreign Film (In the Mood for Love)
• 2004 European Film Awards, Screen International Award (2046)

See also[link]

• Art film
• Cinema of Hong Kong
• William Cheung Suk Ping

Notes[link]

References[link]

Wikimedia Commons has media related to: Wong Kar-Wai

• Abbas, M. A. Hong Kong: Culture and the Politics of Disappearance. Minneapolis: University of Minnesota Press, 1997. ISBN 0-8166-2925-0.
• Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge, Mass.: Harvard University Press, 2000. ISBN 0-674-00214-8.
• Dannen, Fredric, and Barry Long. Hong Kong Babylon: The Insider's Guide to the Hollywood of the East. New York: Miramax, 1997. ISBN 0-7868-6267-X.
• Dissanayake, Wimal, and Dorothy Wong. Wong Kar Wai's Ashes of Time. Hong Kong: Hong Kong University Press, 2003. ISBN 962-209-585-2.
• Lalanne, Jean-Marc, et al. Wong Kar Wai. Paris: Dis Voir, 1997. ISBN 2-906571-67-9. (French)
• Tambling, Jeremy. Wong Kar Wai's Happy Together. Hong Kong: Hong Kong University Press, 2003. ISBN 962-209-589-5.

Further reading[link]

In English[link]

• Botz-Bornstein, Thorsten. Films and Dreams: Tarkovsky, Bergman, Sokurov, Kubrick, and Wong Kar-Wai. Lanham, Md.: Lexington Books, Rowman & Littlefield, 2008. ISBN 0-7391-2187-1.
• Brown, Andrew M. J. Directing Hong Kong: The Political Cinema of John Woo and Wong Kar-Wai. Political Communications in Greater China: the Construction and Reflection of Identity. London: RoutledgeCurzon, 2001. ISBN 0-7007-1734-X.
• Brunette, Peter, and Kar-wai Wong. Wong Kar-Wai. Contemporary Film Directors. Urbana, Ill.: University of Illinois Press, 2005. ISBN 0-252-02992-5, ISBN 0-252-07237-5.
• Redmond, Sean. Studying Chungking Express. Leighton Buzzard: Auteur, 2004. ISBN 1-903663-30-X.
• Teo, Stephen. Wong Kar-Wai: Auteur of Time. World Directors. London: BFI, 2004. ISBN 1-84457-028-2, ISBN 1-84457-029-0.
• Wong, Kar-wai, Yichang Liu, and Kar-wai Wong. Tête-bêche: A Wong Kar Wai Project. Hong Kong: Block 2 Pictures, 2000. ISBN 962-86051-1-9.
• Wong, Kar-wai, and Tony Rayns. Wong Kar-Wai on Wong Kar-Wai. London: Faber, 2002. ISBN 0-571-19397-8.

In other languages[link]

• Aleksandrowicz, Joanna. Pomiędzy obrazem a wskazówkami zegarów: o estetyce nietrwałości w filmach Wong Kar-waia. Kraków: Rabid, 2008. ISBN 83-60236-30-5. (Polish)
• Alovisio, Silvio, Vanessa Durando, and Micaela Veronesi. Le ceneri del tempo: il cinema di Wong Kar Wai. Piombino (LI): Traccedizioni, 1997. ISBN 88-7205-096-0. (Italian)
• Gliatta, Leonardo. Wong Kar-Wai: [saggio critico, foto, filmografia, dichiarazioni del regista, antologia della critica]. Roma: D. Audino, 2004. ISBN 88-86350-77-5. (Italian)
• Jousse, Thierry. Wong Kar-Wai. Les petits cahiers. Paris: Cahiers du cinéma, 2006. ISBN 2-86642-457-3, ISBN 2-240-02519-0. (French)
• Schnelle, Josef, and Rüdiger Suchsland. Zeichen und Wunder das Kino von Zhang Yimou und Wong Kar-Wai. Marburg: Schüren, 2008. ISBN 3-89472-438-2. (German)

External links[link]

This article's use of external links may not follow Wikipedia's policies or guidelines. Please improve this article by removing excessive or inappropriate external links, and converting useful links where appropriate into footnote references. (September 2009)

Articles

• Robert M. Payne – Ways of seeing wild: the cinema of Wong Kar-wai
• Allan Cameron – Trajectories of identification: travel and global culture in the films of Wong Kar-wai
• Anthony Leong – Meditations on Loss: A Framework for the Films of Wong Kar-wai
• LA Weekly – Film Feature: Unforgettable
• Six "Hong Kongs" in search of a Negative Director: Wong Kar-Wai’s alter-Native cinema

Interviews

• Guardian Unlimited Mood Music, by Jonathan Romney
• Onion AV Club Interview by Scott Tobias
• TIMEasia And The Winner Is..., by Stephen Short
• TIMEasia "We love what we can't have, and we can't have what we love", by Bryan Walsh
• Urban Cinefile Audio Interview with Richard Kupier (RealMedia)

Other

• Wong Kar-wai at the Internet Movie Database
• They Shoot Pictures, Don't They?
• Blog from Location Manager of My Blueberry Nights
• lovehkfilm.com