https://padlet.com/KECFMP/t6b0zeypakvimxb4 Experimental en-us 2022-03-25 21:46:13 UTC 2022-04-05 15:18:10 UTC hello@padlet.com KECFMP https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2119425182 Always refer to key moments. Otherwise you are just generalising across the whole film.

]]> 2022-03-29 14:04:05 UTC https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2119425182 https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2119440968 the use of a wide angle lens allows the auteur ( Wong kai wai ) to create a separation between the audience. This can go two ways for the director, as this separation can lead the audience away from the film.

The use of handheld camera throughout the whole film. This allows the director to track the key characters throughout certain aspects of the film.  It also allows the director to get certain close ups instantly of the character. 

The editing and the use of using both fast and slow editing show alot about Wong kar wai style. The constant quick sharp editing throughout the film and especially across the hong kong allows the director to speed up the film and gain engagement of the audience at certain aspects.






]]> 2022-03-29 14:11:01 UTC https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2119440968 https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2119461540 The use of wide angled lens which distorts and enhances the sense of separation on the part of the audience. This is also on occasion contrasted with the long lens shots, where the depth of field is so short and only the subject of interest is shown in the frame and the background is as a result blurred. 

The dialogue in the film is extremely 
minimal so this is deliberately countered by the use of voiceover narration which is privileged to three of the main protagonists. In these interior monologues, the outsider 
nature of the characters is given full attention as they discuss their hopes, fears and desires. ]]> 2022-03-29 14:19:40 UTC https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2119461540 https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2119543561 Wong Kar Wai utilises a gonzo cinema style within Fallen Angels to curate an invasive atmosphere, accompanied by unconventional close-ups that perhaps initiate an uncomfortable response from an audience. He also uses handheld camera for not only verisimilitude, but to mirror the discomfort and confusion of unrequited love.]]> 2022-03-29 14:54:54 UTC https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2119543561 https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2119595027 Throughout the film, both fast and slow motion is frequently used. Slow motion is used during the shoot outs and fast motion is used during the highway shots. This shows off Wong Kai Wai's editing and aesthetic style.

]]> 2022-03-29 15:18:59 UTC https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2119595027 https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2130883733 wong kar-wai uses hand-held camera movement to portray versimilitude and unusual close ups/focus, allowing the director to track key characters during certain key moments/scenes.

another thing that classes wong kar-wai’s techniques as experimental would be his use of lighting to represent the emotion currently being felt in that scene. one key moment would be the motorcycle scene with zhiwu and charlie, both characters being drenched in red lighting, representing the love and desire they feel. the green lighting in the background usually means that something is spooky, old or expired in wong kar-wai’s films which could represent the relationship between zhiwu and charlie being prematurely expired, over before it even began. wong kar-wai also uses this technique in his other films, one notable one being chungking express, where the cop, a rather lonely character, is constantly drenched in blue lighting to emphasise this aspect.]]> 2022-04-05 15:13:17 UTC https://padlet.com/KECFMP/t6b0zeypakvimxb4/wish/2130883733