왕가위 영화에 드러난 여성성의 이중적 층위

Abstract

This article examines the femininity aspect shown in Wong Kar-wai films within the frame work of grammar of the films. The attraction of his film come from dissemination of uncertainty by isolated characters who can not communicate. Wong Kar-wai films create competing struggling field of double sided or contradictory elements. Also the films attempt collage not logical series by disturbing traditional meaning narrative that connect time and space aligning the bits. Wong Kar-wai’s continuous attempts in his films are provocative as Sergei Eisenstein claim that essence of film is the relationship between the images not the messages. The female images of his films were interpellation as independent agent not object or opposite agent for male characters. femininity from his films is rather independents settling in places not nomad searches. Julia Kristeva clams that femininity is realized by continuous changed of categories and meaning of femininity. Females from his films are stronger in independence rather than distinct domain, but they show characteristics which can not be capture by words or reason. Modern characters show acceptance and caring femininity based on morality based on the differences, femininity by Wong Kar-wai aim for differentiating phallocentric masculinity and femininity while accepting traditional femininity at extreme level so that modern meanings are called for. Femininity from Wong Kar-wai films is independent being that can not communicate. It’s free domain beyond languages and reasons based on the specifics rather than the opponent of masculinity. It’s also independently realized variation in the link of meaningless time, not a duty aim for nurture, caring and peace.