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Minor Movies: On the Deterritorialising Power of Wong Kar-wai’s Works |
Sebastian Nestler() |
Department of Media and Communication, University of Klagenfurt, Klagenfurt 9020, Austria |
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Abstract The article approaches Wong Kar-wai’s cinematic work using the notion of “minor literature” as coined by Gilles Deleuze and Félix Guattari. Minor literature—or, in other words, minor language—signifies oppositional/resistant uses of a major/hegemonic language. It appropriates hegemonic language and deterritorialises it by re-signifying its original meanings. By transferring this concept from literature to cinema, we can describe Hong Kong cinema, which deterritorialises Hollywood cinema, as a minor cinema in relation to Hollywood. Following this interpretation, Wong Kar-wai’s movies appear as a “minor language of a minor cinema” because they are significantly different from Hong Kong’s mainstream action cinema. Consequently, Wong’s movies possess a high level of deterritorialising power, which opens up new spaces of meaning and gives voice to positions usually oppressed by mainstream cinema. Finally, a close reading of Wong’s movie Happy Together shows how “minor movies” challenge the mainstream’s unison and give space to a resistant and transforming polyphony.
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Keywords
film studies
cultural studies
post-structuralism
Hong Kong cinema
Wong Kar-wai
minor movies
Happy Together
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Corresponding Author(s):
Sebastian Nestler,Email:sebastian.nestler@aau.at
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Issue Date: 05 December 2012
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