Please enable JavaScript.
Coggle requires JavaScript to display documents.
Fallen Angels - Coggle Diagram
Fallen Angels
Auteur
Mothlight by Brackage ambiguous message and Tree of Life is more conventional but experimental in terms of montage and film style
Sarris says ‘the way a film looks and moves should have some relation to the way a director thinks and feels’
loneliness and desire
Other films: Chungking Express, lonely in a crowded modern urban society. Ashes of Time, each character has his own music that reflects his unique idiosyncrasy but also his solitude
-
jukebox: lingering extreme close ups on body: intimate, erotic emphasised by the slow pace of the camera
masturbation scene: canted wide angle, unpleasing, dislocation, distorts reality, makes her let feel big, not flattering, emotional state
double exposure effect: dreamy, multi dimensional/multiple versions of self as she is the only one she needs: reflection of her imagination
-
obsessive behaviour and fear of connection, alienated: replacing lover with inanimate objects, trash, smoking his cigarette, going through his rubbish (similar to Faye in Chungking, breaking into his apartment replacing his tin cans) translates their physical desires
"doomed romances" that feature "loners, dreamers and the heartbroken" (BFI, Ann Lee)
Barry Jenkins- ability to make films that express feelings and emotions not literally but poetically... all about mood
cinematography
hand held camera: frenetic pace of Hong Kong captured: some critics discussed the relevance of his status as an outsider, Australian, capturing HK
wide angle even for close up shots, distorting space around characters (scene of agents assistant eating noodles). Doyle used it to emphasise the dynamic look of HK
step printing: most notary techniques where characters move at a diff speed from surroundings: disconnection between character and space and themselves
neon: Doyle influenced by neon world of HK and BKK, exposed camera for neon lights: immerse
-
-
Elizabeth Wright: undeniably an auteur of striking and salient cinema, standing apart from much mainstream Hong Kong cinema. Wong belongs to the mid-1980s Second New Wave of Hong Kong filmmakers who continued to develop the innovative and fresh aesthetic initiated by the original New Wave.
Narrative
-
A story should have a beginning, a middle and an end, but not necessarily in that order.
-Jean-Luc Godard
-