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    <subfield code="a">A companion to Wong Kar-wai /</subfield>
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    <subfield code="a">Includes bibliographical references, filmography, and index.</subfield>
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    <subfield code="g">(From table of contents) Part One. Introduction.</subfield>
    <subfield code="t">Wong Kar-wai: Invoking the universal and the local /</subfield>
    <subfield code="r">Martha P. Nochimson --</subfield>
    <subfield code="g">Part two. Mapping Wong's liminality. 1.</subfield>
    <subfield code="t">Transnational Wong /</subfield>
    <subfield code="r">Ken Provencher --</subfield>
    <subfield code="g">2.</subfield>
    <subfield code="t">It is a restless moment: Wong Kar-wai and the phenomenology of flow /</subfield>
    <subfield code="r">Joseph G. Kickasola --</subfield>
    <subfield code="g">3.</subfield>
    <subfield code="t">Wong Kar-wai and his jiang hu /</subfield>
    <subfield code="r">B&#xE9;r&#xE9;nice Reynaud --</subfield>
    <subfield code="g">Part three. Thresholds of texture and mood. 4.</subfield>
    <subfield code="t">Wong Kar-wai's cinema of repetition /</subfield>
    <subfield code="r">Ackbar Abbas --</subfield>
    <subfield code="g">5.</subfield>
    <subfield code="t">Wong Kar-wai: The optics of the virtual /</subfield>
    <subfield code="r">Angelo Restivo --</subfield>
    <subfield code="g">6.</subfield>
    <subfield code="t">Color design in the cinema of Wong Kar-wai /</subfield>
    <subfield code="r">Shohini Chaudhuri --</subfield>
    <subfield code="g">7.</subfield>
    <subfield code="t">The value of re-exports: Wong Kar-wai's use of pre-existing soundtracks /</subfield>
    <subfield code="r">Giorgio Biancorosso --</subfield>
    <subfield code="g">Part four. In the corridors of history and culture. 8.</subfield>
    <subfield code="t">Wong's ladies from Shanghai /</subfield>
    <subfield code="r">Gina Marchetti --</subfield>
    <subfield code="g">9.</subfield>
    <subfield code="t">The Sinophone cinema of Wong Kar-wai /</subfield>
    <subfield code="r">Audrey Yue --</subfield>
    <subfield code="g">10.</subfield>
    <subfield code="t">New queer angles on Wong Kar-wai /</subfield>
    <subfield code="r">Helen Hok-Sze Leung --</subfield>
    <subfield code="g">11.</subfield>
    <subfield code="t">"Pity about the furniture": Violence, Wong Kar-wai style /</subfield>
    <subfield code="r">Karen Fang --</subfield>
    <subfield code="g">12.</subfield>
    <subfield code="t">In the mood for food: Wong Kar-wai's culinary imaginary /</subfield>
    <subfield code="r">Mike Ingham and Matthew Kwok-kin Fung --</subfield>
    <subfield code="g">13.</subfield>
    <subfield code="t">"Chungking Express", Tarantino, and the making of a reputation /</subfield>
    <subfield code="r">David Desser --</subfield>
    <subfield code="g">Part five. Close-up of Wong's inflections of time and space.</subfield>
    <subfield code="t">"Chungking Express": Slow -- images -- ahead /</subfield>
    <subfield code="r">Raymond Bellour ; translated by Allyn Hardyck --</subfield>
    <subfield code="g">15.</subfield>
    <subfield code="t">Wong Kar-wai: The actor, framed /</subfield>
    <subfield code="r">Joe McElhaney --</subfield>
    <subfield code="g">16.</subfield>
    <subfield code="t">Infidelity and the obscure object of history /</subfield>
    <subfield code="r">Vivian P.Y. Lee --</subfield>
    <subfield code="g">17.</subfield>
    <subfield code="t">Metonymy, mneme, and anamnesis in Wong Kar-wai /</subfield>
    <subfield code="r">Thorsten Botz-Bornstein --</subfield>
    <subfield code="g">Part six. Focus on individual films. 18.</subfield>
    <subfield code="t">Serial, sequelae, and postcolonial nostalgia: Wong Kar-wai's 1960s Hong Kong trilogy /</subfield>
    <subfield code="r">Yiman Wang --</subfield>
    <subfield code="g">19.</subfield>
    <subfield code="t">We can't go on not meeting like this: "Fallen angels" and Wong's intertextuality /</subfield>
    <subfield code="r">Martha P. Nochimson --</subfield>
    <subfield code="g">20.</subfield>
    <subfield code="t">The third reality: "In the mood for love" /</subfield>
    <subfield code="r">Michel Chion ; translated by Claudia Gorbman --</subfield>
    <subfield code="g">21.</subfield>
    <subfield code="t">Cinephiliac engagement and the disengaged gaze in "In the mood for love" /</subfield>
    <subfield code="r">Yomi Braester --</subfield>
    <subfield code="g">22.</subfield>
    <subfield code="t">Wong's America, North and South: "My blueberry nights" and "Happy together" /</subfield>
    <subfield code="r">Ken Provencher --</subfield>
    <subfield code="g">23.</subfield>
    <subfield code="t">Queer utopias in Wong Kar-wai's "Happy together" /</subfield>
    <subfield code="r">Carlos Rojas --</subfield>
    <subfield code="g">24.</subfield>
    <subfield code="t">Wong Kar-wai's genre practice and romantic authorship: The cases of "Ashes of time redux" and "The grandmaster" /</subfield>
    <subfield code="r">Stephen Teo --</subfield>
    <subfield code="g">25.</subfield>
    <subfield code="t">Wong Kar-wai, auteur and adaptor: "Ashes of time" and "In the mood for love" /</subfield>
    <subfield code="r">Wai-ping Yau --</subfield>
    <subfield code="g">Filmography --</subfield>
    <subfield code="g">Appendix I.</subfield>
    <subfield code="t">Wong works in television /</subfield>
    <subfield code="r">Chih-ting Chen --</subfield>
    <subfield code="g">Appendix II.</subfield>
    <subfield code="t">Wong works in advertising /</subfield>
    <subfield code="r">Chih-ting Chen --</subfield>
    <subfield code="g">Selected bibliography --</subfield>
    <subfield code="g">Index.</subfield>
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    <subfield code="a">Contains 26 essays addressing numerous topics including intertextuality, transnationality, gender representation, repetition, the use of music, color, and sound, depiction of time and space in human affairs, and Wong's portrayal of violence.</subfield>
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