Wong Kar-wai’s Technique of Communicating Emotions through Frames, Mise-en-scène and Soundtrack in In the Mood for Love
Lekshmi Jayadev1, Shibani Chakraverty Aich2
1Lekshmi Jayadev, Department of English, Amrita School of Arts and Sciences, Amrita Vishwa Vidyapeetham, Amritapuri Campus, Kollam, Kerala, India.
2Dr Shibani Chakraverty Aich, Department of English, Amrita School of Arts and Sciences, Amrita Vishwa Vidyapeetham, Amritapuri Campus, Kollam, Kerala, India.
Manuscript received on 25 August 2019. | Revised Manuscript received on 05 September 2019. | Manuscript published on 30 September 2019. | PP: 2950-2954 | Volume-8 Issue-11, September 2019. | Retrieval Number: K22580981119/2019©BEIESP | DOI: 10.35940/ijitee.K2258.0981119
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© The Authors. Blue Eyes Intelligence Engineering and Sciences Publication (BEIESP). This is an open access article under the CC-BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/)
Abstract: Motion pictures and the art of movie making started communicating with the audience and entertaining people decades before the first movie with dialogues came into existence. Pre-eminent directors and movie maestros reveled in the art of expressing emotions through their cinematic pieces without explicitly constructing them into dialogues. Wong Kar-wai, Chinese film director, is one such movie maker who gives his creations the wholeness and beauty of a painting. Through “In the Mood for Love”, “2046”, “Chungking express”, “Happy Together” etc. Wong Kar-wai, held art house audiences across the entire globe captive in his enigmatically beguiling form of art. His films are noted for its rhythmic unveiling of plot, photographic and semi-mask techniques and an intense personal flare. In the Mood for Love, often referred to as one of the greatest cinematic productions of the era, instantly earned the title of being a chef-d’œuvre with its unconventional take on a rather conventional story. The movie, starring Tony Leung Chiu-wai and Maggie Cheung Man-yuk, is deemed to be a classic for its unsurpassable cinematography, hauntingly messianic soundtrack and transfixing mise-en-scène which act as the major mediums through which the characters communicate their inner lives to the audience.
Keywords: Mise-en-scène, Wong Kar-wai, In the Mood for Love, Soundtrack, Frames
Scope of the Article: Wireless Communication