by Landon Palmer.
As a British colony until 1997 and Special Administrative Region of China, Hong Kong has created a popular culture completely unique to East Asian metropolitan living. This is demonstrated, in part, by the rich cinema tradition that has been continually exported from Hong Kong since the late 1970s, which bore films that distinctively combined East and West. While the region has produced some of the most memorable martial arts and action films of the late 20th century, the “Hong Kong New Wave” also witnessed the emergence of several great dramatists including Stanley Kwan, Yim Ho, Ann Hui and, of course, Wong Kar-Wai.
For someone unfamiliar with Hong Kong firsthand, Wong’s films provide a resonant, bewitching, perhaps even definitive portrait of the city. In his international breakthrough Chunking Express, the densely populated metropolis’s kinetic movement and globalized circuits are accentuated by the film’s restless camera and Cranberries-infused soundtrack. In the Mood for Love stages several intimate meetings of traditional and contemporary life in the claustrophobic corners in an exponentially vertical Hong Kong. The dizzying 2046 presents a Hong Kong ever at the concurrent precipice of the past and the future.
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