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In the Mood for Love
Transcript of In the Mood for Love
Mrs. Chan & Mr. Chow (Starring Maggie Cheung and Tony Leung.
Landlady as Mrs. Suen
In The Mood for Love- Hong Kong film at 2000 directed by Wong Kar- Wei.
Two main actors: Mrs. Chan and Mr. Chow
1962, in Hong Kong
1963， in Singapore
1966, in Cambodia
First view: Mrs. Chan needs to rent a place to live on the same day as Mr. Chow. Mrs. Chan was talking to her landlady at a shanghai lady Mrs. Suen's house, then Mr. Chou came as well to this house.
Because it was the first shot about this house, the next of this entire film was all about in this house. So Mrs. Chan and Mr. Chow are from this house of the start of the little things. First, Mr. Chow took the wrong magazines give back to Mrs. Chan, and then Mrs. Chan let her husband to help Mr. Chow to brought a rice cooker from Japan. Later, they always saw and getting closer to know each other.
Special move to the camera: Body of Mrs. Chan.
Soundtrack: 3/8, Violin solo
Slow shots: When the music emerge
Montage: deal with the details on the film, which greatly enhances the film's artistic appeal, increasing the film's subtle beauty.
Voice over: When Mr. Chow and Mrs. Chan had dialogue to their spouses, but other half of the picture does not appear. In this way voice over said " Presence" for their spouses.
Example: The light in dark road
1960s in Hong Kong, the newspaper editor Mr. Chou and his wife moved to one of Shanghai residents apartment, and representative of Japanese-owned company's trade Mr. Chan and his wife Mrs. Chan became neighbors. Because of Mrs. Chan and Mr. Chou's spouses both work outside and discovered had a affair, Mrs Chan and Mr. Chou began to meet to discuss the possible future event and countermeasures. At the first they were just talk like normal, then gradually around bunch of Shanghai neighborhood gossip, they found that spouses were having affair thing was not important for them anymore, they really like each other. But they always deliberately avoided something, the result are more deep miss each other. The ending was regretful that Mr. Chou and Mrs. Chan finally stopped their relationship.
Mrs. Chan wears colorful of the high neck elegant Cheong-sams in each scene but different print. The Cheong-sams play an important role in the film as they present the passage of time. Her dresses indirect mapping the development of the story, and the characters change mood.
Mrs. Chan and Mr. Chow always passing each other on a dark stairwell. They were pretending to ignore each other, more means they were very lonely inside, and indifferent of their living conditions.
Mrs. Chan and Mr. Chow trapped in a bedroom. Again, They were pretending not to be in love.
Mrs. Chan and Mr. Chow walked down a cobblestone street pretending not to be in love.
recurring motifs & inter texts
The dim light on the dark road represent Mrs. Chan was so lonely that her husband always not at home, she needs to go to that noodle shop to buy noodle.
The clock on the wall, it is easy to make the audience feel the passage of time, years of relentless.
A tree appeared in the film when Mr. Chow to leave to Singapore from Hong Kong; This motif shows the time is converted in 1962 to 1963's, but more importantly means that Mr. Chow and Mrs.Chan has become increasingly distant, and the love between them has always impossible. In the end of this film, this tree appeared again.
Four times a pairs of embroidered slippers of Mrs. Chan that in the movie has an important symbolic meaning.
Mrs. Chan's thermos and her bust.
The importantly of art is subtle expression. "In the mood for Love" is such a artistic features of film art. Actually, Director Wong Kar-Wai used in a metaphorical and symbolic expression way to increases the inherent charm of the film. Every word present punctuation symbolism to a song. Film of Mr. Chow and Mrs. Chan reflects not only because of their unfortunate love, and also not just reflect the sincere feelings between them, but more reflect the contents of that society, and relationship of people life and moral values, etc.
An outstanding film, the subject is not directly tell the audience but implicit in every detail to rely on the audience to understand.
1. Do they really love each other?
2. Did they have sex relationship?
3. Why they always pretending NOT love to each other?
"In the Mood for love" used montage techniques to repeat the theme oh the film mutual, emotional changes in the performance of the suggesting the real situation of society 60s era colors in Hong Kong. For example,in the film the phone call between Mr. He( Chan' boss), Mr.He's lover, and Mr.He's wife of buying gifts plots illustrates, the boss is back and forth between the lover and his wife. So Combine this whole story, people felt the 60s life in Hong Kong society is pretty real life and emotional change. Not only extramarital love for Mrs. Chan and Mr. Chow's partners, lots of people like them are having outside lovers and sneaky to do that. (357–368)
This film from a new perspective to shape a new and rich ambiguity theme. Performance of the era, and the conflicts of 60s colonial culture and traditional cultures, showing the subtle complexity of human nature. The story of Mrs.Chan and Mr.Chow wanted to "Love" but not "Love",people feel the complex relationship between the human, social, and moral. Finally director was giving a hint of regret and frustration. So Wong kar-wai did not show the contents of the film was positioned on a crazy love for the men and women, through a series of unique performance practices of the times to add colors, national colors and human natures.
cinematography of the film I
: Multiple-angle reflect events, increasing the sense of art.
First When Mr. Chow and Mrs. Chan are command move things of using a telephoto lens, the focus point falls on each screen protagonist. In addition, Mr. Chow and Mrs. Chan are perfectly at the same time to moving things where the director has adopted a parallel montage way to interspersed with cut scenes to move two of them. The interestingly was the environment is the same for Mr.Chow and Mrs. Chan, but Mr.Chow appears on the left go the screen, Mrs. Chan appears on the right side of the screen. So with those cuts to give the audience a balance of "Move" during in this precess. In a subsequent plot, the camera cuts are more prominent roles. Mrs. Chan at the door waiting to get the books, and shoot her side face; When Mrs. Chan entered the room, flat shot her positive face and the back of Mr.Chow. This cut shots means even for borrowing books, they had to be very cautions, and suggesting repressed and living conditions under the quiet appearance.
Episode phased development proved and an excellent tool to render the atmosphere. The music of 6/8 compound miter in three beats appeared 9 times at the theme in the film, each of episode is a development stage sound a sign: The first time, Mr. Chow and Mrs. Chan met on the mahjong table at their landlord's apartment. Second time, Mr. Chow and Mrs. Chan have been more familiar with each other,and their spouses were always not at home, so the two of them were on the stairs and noodle shop with appear parallel montage cut. Third time, Mr. Chow and Mrs. Chan still appear on the stairs and noodle shop, but began to pass the bodies each other. The fourth time, They have understanding of their partner's problem, and two of them were sad. The fifth time,the relationship of Mr. Chow and Mrs. Chan getting closer, both of them at the work longer instead of thinking each other. The Sixth time, Mr. Chow and Mrs. Chan were study martial arts together. The seventh time, same as the first scene that in order to avoid the gossip. The eighth time, Mr. Chow was no longer hide his love to Mrs. Chan. The last time was the end of the piece, which belongs to all of that era do not exist for Mr. Chow and Mrs. Chan. Three beats of music is long and slow, it sounded when the actors movement speed is slow as well, with the faces of actors are quite lonely expression, present a kind of play with a old atmosphere.
cinematography of the film II
When they had dialogue to their spouses, but other half of the picture does not appear. In this way voice over said " Presence" for their spouses. It seems like Mr. Chow and Mrs. Chan performance to some shots should be one-man show that usually are close-directed to facilitate the detailed capture actor's face expression. For example, close-up when Mrs. Chan talked to her husband, and the conversation of the Landlord and Mrs. Chan, her facial expression and nervous.
The impressive of Close-up in this film, such as Mr. Chow's face rely on the front wall with a sad expression. Mrs. Chan's slippers at Mr. Chow's home, close-up of Mrs. Chan was wearing high heels and hands toward to that slippers. It was a highly artistic of close-up of a long shot after the opening when Mr.Chow left hand to Mrs. Chan, then move to the lens face that Mrs. Chan sad and depressed at this time, reflected in the close-up face.
Particularly mention are these two scenarios: One was Mr. Chow and Mrs. Chan met at the the small space, and they both noticed the bag and tie. The other one was Mr. Chow and Mrs. Chan were in a cafe shop, then it is entirely of close-up. Finally, with the hand of the smoke Mr. Chow supplemented Mrs. Chan voice over this complex of emotions was into the music.
Imagery and composition:
support the film frame.
There are many typical images of this film, such as the phonograph, Cheong-sam, rain, street lamps etc. Gramophone is the mark of that era for record and memories to people. It always sounded at a important time.
Mrs. Chan's more than 20 sets of dresses are gorgeous, and with the different color when she had different emotions, they were sometimes graceful, sometimes sad, and sometimes melancholy.
The rain in this film present the breath of moist, and people characters emotions on the rain.
Lighting is an integral part of the whole film background, it was always so gloom and made this story slowly development.
In The Mood for Love
"If there is an extra ticket….Would you go with me?"
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Mary H. Burleson. Wenda R. Trecathan. Michael Todd. "In the Mood for Love or Vice Versa? Exploring the relations Among Sexual Activity, Physical Affection, Affect, and Stress in the Daily Lives of Mid-Aged Women. Archives of Sexual Behavior 36.3 (2007). EBSOhost. Department of Social and Behavioral Sciences, Arizona State University, Arizona. Department of Sociology and Anthropology, New Mexico State University, Las Cruces, New Mexico, and Prevention Research Center, Berkeley, California. P36:357–368