Written Image:a Study On The Screenwritten Method Of Wong Kar-wai’s Poetic Films

Since Wong Kar-wai’s first feature-length film came out,he has attacted wide attention.Wong Kar-wai is the first Chinese to win the Best Director award of Cannes Film and the first Chinese to be invited as the judging presidium.Wong Kar-wai’s films are worth studying because he has developed a poetic,eclectic and intense personal style.The most striking feature of the style is its poetic quality.Poetry runs through Wong Kar-wai’s films,which originated from the step of creation: writing scripts.Scholars who have made in-depth studies of Wong Kar-wai’s films include David Podwell,Abak Abbas,Gary Bettingson,Zhang Jiande,Ma Lanqing,Zhou Lei and so on.Gary Bettingson focuses on analyzing Wong Kar-wai’s films from the perspective of film poetics.Poetic film writers have many directors represented by Tarkovsky.The common feature in creation is that the director doubles as the screenwriter and completes semi-improvisation with the thinking mode of visual priority.When played on film,the potential final script of a film is often far removed from the original script sketch.My thesis is divided into four parts.The first part is the introduction,reviewing the research status.The second part is the characteristics of poetic films,including the composition and characteristics of poetic films.The third part is the stylized analysis of Wong Kar-wai’s poetic films,including the analysis of the text elements of the plays,the director-writing method of poetic films,and the poetic film script Rose and Mask.The fourth part is the conclusion Wong Kai-wai’s poetic films uses space over story to write and revise film plays repeatedly between brain,test and screen.