The article approaches Wong Kar-wai＇s cinematic work using the notion of ＂minor literature＂ as coined by Gilles Deleuze and F61ix Guattari. Minor literature--or, in other words, minor language signifies oppositiona...The article approaches Wong Kar-wai＇s cinematic work using the notion of ＂minor literature＂ as coined by Gilles Deleuze and F61ix 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.展开更多
文摘The article approaches Wong Kar-wai＇s cinematic work using the notion of ＂minor literature＂ as coined by Gilles Deleuze and F61ix 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.
