Consolation to the lovelorn? the return of the unforgotten in 2046
Journal
Chinese Semiotic Studies
Journal Volume
1
Journal Issue
1
Pages
279-294
Date Issued
2009
Author(s)
Abstract
One characteristic of Wong Kar-Wai's cinematography is his mise-en-abtme. 2046, the final part of his 1960s trilogy, displays this marie to the full. This paper would argue that through the study of the operation of semiotic relations in terms of metaphoric and metonymic chains in the film narrative the viewer can establish better conceptual structuration of the disruptive plot. I will take the black-and-white scene showing the image of Su Lizhen ( Maggie Cheung) near the end of the film as a pivotal conceptual vehicle, so as to reveal the possible linkage of metaphoric projections and metonymic indications various episodes in 2046 carry or imply. The analysis of indexical and iconic relation in these episodes helps construct mental integration of various visual images and the fragmented narrative. 2046 keeps some traces of Wong's past films; however, except the much familiar demonstration of his mise-en-abtme, the analysis of interaction patterns and cognitive integration offers an access to Wong's montage that in its aesthetic operation, shares a similar process with semiotic structuration in conceptual representation.
Type
journal article