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Afterword
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The Afterword to the Second Edition revisits some of the book’s arguments in light of subsequent research, addresses some critical responses to the first edition, and brings the story of Wong Kar-wai’s career up to date, including his Chinese television series Blossoms Shanghai. This chapter situates Wong in relation to current debates about the “death” of Hong Kong cinema and the emergence of a “post-Hong Kong cinema;” and it reflects upon recent developments within the Hong Kong film industry and Hong Kong society at large (e.g. the increase in HK/PRC coproductions, the tightening of censorship, and the political uprisings of 2014 and 2019-2020). The chapter extends Chapter 6’s examination of “appropriation” by updating the continuing legacy of Wong’s international influence, evident in films such as Moonlight (2016) and Everything Everywhere All at Once (2022). The chapter concludes by advancing a poetics of performance in the study of Wong’s cinema.
Title: Afterword
Description:
The Afterword to the Second Edition revisits some of the book’s arguments in light of subsequent research, addresses some critical responses to the first edition, and brings the story of Wong Kar-wai’s career up to date, including his Chinese television series Blossoms Shanghai.
This chapter situates Wong in relation to current debates about the “death” of Hong Kong cinema and the emergence of a “post-Hong Kong cinema;” and it reflects upon recent developments within the Hong Kong film industry and Hong Kong society at large (e.
g.
the increase in HK/PRC coproductions, the tightening of censorship, and the political uprisings of 2014 and 2019-2020).
The chapter extends Chapter 6’s examination of “appropriation” by updating the continuing legacy of Wong’s international influence, evident in films such as Moonlight (2016) and Everything Everywhere All at Once (2022).
The chapter concludes by advancing a poetics of performance in the study of Wong’s cinema.
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