Mise-en-scene in ‘In the Mood for Love’

Mise-en-scene in ?In the Mood for Love?Project descriptionEssay on Wong Kar-wai film In the Mood for Love (2000)Sources:? In the Mood for Love, 2000. Directed by Wong Kar-wai-David Bordwell, ?Avant-Pop Cinema?, in Planet Hong Kong (Cambridge, Mass.; London: Harvard University Press, 2nd ed. 2010)-Chris Berry and Mary Farquhar, ?Time and the National: History, Historiology, Haunting?, in China on Screen (New York, N.Y.; Chichester: Columbia University Press, 2006), pp.17-46.-Rey Chow, ?The Everyday in The Road Home and In The Mood For Love: From the Legacy of Socialism to the Potency of Yuan?, in Sentimental Fabulations, Contemporary Chinese Films:: attachment in the age of global visibility (New York; Chichester: Columbia University Press 2007), pp.66-82.-Tony Williams, ?Transnational Stardom: The Case of Maggie Cheung Man-yuk?, Asian Cinema 14/2 (2003), 180-196.? Michael Curtin, ?Independent Studios and the Golden Age of Hong Kong Cinema? and ?Hyperproduction Erodes Overseas Circulation?, in Playing to the World?s Biggest Audience: the globalization of Chinese film and TV (Berkeley, Calif.; London: University of California Press, 2007) pp.47-84, and pp.302-3-Matthew Chew, ?Contemporary Re-emergence of the Qipao: Political Nationalism, Cultural Production and Popular Consumption of a Traditional Chinese Dress?, China Quarterly 189 (March 2007), 144-161.-Gary Bettinson, ?Happy Together? Generic hybridity in 2046 and In the Mood for Love?, in Warren Buckland (ed.), Puzzle Films: complex storytelling in contemporary world cinema (Malden, Mass.: Wiley-Blackwell, 2009), pp.167-186.-Olivia Khoo, ?Love in Ruins: Spectral Bodies in Wong Kar-wai?s In the Mood for Love?, in Larissa Heinrich and Fran Martin, Embodied Modernities: corporeality, representation, and Chinese cultures (Honolulu: University of Hawai?i Press, 2006), pp.235-252.!

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