A Comparison Between Wong Kar-Wai’s And Shunji Iwai’s Cinema Styles From The Perspective Of East Oriental Film Aesthetics

The films of China’s Wong Kar--Wai and Japan’s Shunji Iwai have all developedtheir own Aesthetic style. With the increased popularity of their films in internationalfilmdom.The phenomenon of"Wong Kar-style aesthetics" and "Iwai aesthetics"are gotmore and more attention.Shunji Iwai has even been called "Japan’s Wong Kar-wai," Inthe system of East oriental film aesthetics,They are inevitably affected the sameaesthetics.So, based on the perspective of Oriental film aesthetics, combined with thecomparative study of their films’ styles, some basic features of Oriental film aesthetictheory are arrived. At the same time, these features provide some inspiration for thedevelopment of China’s national film, which is the purpose and significance of thisthesis.This paper is divided into four parts, a total of five chapters. The first part is the firstchapter which serves as the introduction part. This chapter analyses the necessity andsignificance of studying the film of Shunji Iwai and Wong Kar-wai. In fact, it isnecessary to conduct a research on their films which not only involves equality andindependence inherent in the Western film aesthetics theory but also includes thesolutions to the problems existed in the blockbuster movies In current China.The second chapter is located in the second part which lays an emphasis on theory.With a study on the theoretical characteristics of Oriental aesthetics, it is concludedthat it is necessary to build the theory of oriental film aesthetics. Meanwhile, byexploring the relationship between Chinese and Japanese films, it is safe to arrive atthe conclusion that oriental film aesthetics and the films of Wong Kar-Wai’s and ShunjiIwai’s are related to each other.The third part includes chapters III and IV, which is made up of an analysis of thefilm text. Via a comparative study of specific movie of Wong Kar--Wai and Japan’sShunji Iwai, their specific reflection on oriental film aesthetics is presented.The fourth chapter belongs to Part IV which is about the value and significance ofthis paper. Through the specific study of their films, the inspiration for thedevelopment of China’s national film is drawn. This has much to do with thenationalization and globalization of national movies, their tradition and modernity aswell as the transformation and combination of personalization and national spirit.Contemporary studies tend to explain their two films from the angle of western postmodernism. Modernism is also emphasized in current studies of Shunji Iwai’smovies. As a matter of fact, Wong Kar-Wai’s and Shunji Iwai’s movies conform to oneanother in terms of film aesthetics. This essay deals with Wong Kar-Wai’s and ShunjiIwai’s movies from a new perspective. And the success of their films provides insightinto exploring national films.