WONG KAR WAI'S FILMS:

DISTINCTIVE VISUALS OF WONG KAR WAI'S FILMS:

• The use of distorting wide angle lenses
• Strongly coloured lights (sickly, fluorescent greens, cold blues, warm yellows and oranges)
• Seemingly unmotivated switches between colour and black and white stock
• The use of highly kinetic, flashy, hand-held camera, unusual shooting angles, and camera movements

HOW TO ANALYZE FILM:

Sound - Diagetic and Non-Diagetic:

• Diagetic - actors can hear, sounds in the scene (like a radio playing, dialogue)
• Non-Diagetic - actors cannot hear (orchestra, voiceover background, music)

Cinematography:

• Camera Angles 
• Movement
• Lighting - amount of light (high key/low key, soft/hard)
• Colour

Mise en Scene:

• Costume
• Props
• Performance
• Make up
• Colour
• Setting

Editing:

• Cuts
• Effects

THE FRENCH NOUVELLE VAGUE:

Key points from the article:

• Vibrant realism
• Extended shots
• Handheld footage
• Naturalistic performances
• On-location shooting
• Whip-pans
• Socio political commentary
• Ambiguous and unresolved endings
• New Wave was born in the late 1950s

What features can be found in Happy Together?

• Natural lighting
• Naturalistic performances
• Handheld footage
• On location shooting

GENRE AND HAPPY TOGETHER:

GENRES:
When identifying genre the following can be considered:
Setting
Character
Theme
Style (Mise on Scene)
Narrative
Iconography

THE ROAD MOVIE:
Characters - A kind of story in which the hero changes, grows or improves over the course of the story.
Iconography - interstate highways and boarder crossings
Visual motifs - vast, open landscapes and expansive, seductive horizon lines. Highway signs, motels, diners, and gas stations.

Hero - Fai, he acts better and the movie follows his journey
How he changes throughout the movie - He grows from the relationship and gains independence, lots of driving scenes on his own, finally stops the relationship after going full circle.  Fai's journey as a character is also paralleled by the journey in the movie itself, with Buenos Aires serving as a metaphor of Fai losing himself in his relationship with Po-Wing and once he has left the volatile relationship, going back to Hong Kong as a mark of stability.

Iconography - driving scenes, black and white - very vintage and yellowish, tracking shot when driving, shows the culture of Argentina through it's dance and the food, conversations between people, clubs, the lamp - flickering

Visual motifs - waterfall is a recurring visual motif, light tower, night market, pay phone, gas stations, flat horizon the road seems to lead to nowhere, long road shots (getting lost)

NARRATIVE STRUCTURE OF THE ROAD MOVIE:

• The road movie tends towards an episodic structure
• In each episode, there is a challenge to be met, although not all of them will be met successfully
• In most episodes, a piece of the plot is revealed - knowledge or allies are gained, and so on

Road movies traditionally end in one of 5 ways:

• Having met with triumph at their ultimate destination, the protagonists return home, wiser for their experiences. 
• At the end of the journey, the protagonists find a new home at their destination. 
• The journey continues endlessly. 
• Having realized that, as a result of their journey, they can never go home, the protagonists either choose death or are killed.