In The Culture And For The Culture

This article take Wong Kar-wai's movies In the Mood of love, Ashes of Time and Happy Together as the main object to study,including the others in which Wong Kar-wai's nine films that have been done as yet. And try to question the space, time and identity that composed Wong Kar-wai's films in the specific culture context of Hong Kong.So, chapter 1 is starting from the symmetry space's formation of In the Mood of Love. And one of this part emphasis is the same structure between the narration of film, the cultural circumstance and the composition of space , probing the ponder of Hong Kong's culture between the eastern and the western; Chapter 2 is starting from the distinctive ways of time expression of Ashes of time and researching his films'exhibition of time. Wong Kar-wai has not only break through the trandition of Gongfu film but also create a new type of movie style. His films has melodized commerce and art, but the most important things is Wong Kar-wai's confirm about the"history"(time) of Hong Kong; Chapter 3 is starting from the Delphic gender of Happy Together, to talking the crisis of Hong Kong identity and its cultural source about the personality in his film. Put my views on the opacity identity and laxity ego in Wong Kar-wai's films.Though the study of Hong Kong's film of Wong Kar-wai and Wong Kar-wai's film of Hong Kong, we can see that although Wong Kar-wai's film is famous for his personal style but the carrying through things is the speculation and meditation of Hong Kong culture.