Wong Kar Wai is internationally well-known as a postmodern art film director and is widely considered the Asian auteur of our time (Wright, 2002). Wong Kar Wai films have been judged to be significant from the standpoint of Asian cultural studies. The existing range of criticism on his oeuvre is quite diverse and is especially focused on social interpretations and the impacts on international consumption of the art film industry. In this research I combine criteria from auteur criticism with concepts of geopolitical identity in cultural studies to examine the 'trilogy' of Days of Being Wild, In the Mood for Love, and 2046. The relationships and meanings of time and memory in Wong Kar Wai's films create significant connections between the history and identity of Hong Kong as a uniquely westernized Asian metropolis. The changing circumstance of Hong Kong cultural identity, as the province returns to Chinese political administration, raises questions about whether western, eastern or some cosmopolitan combination of both traditions are possible options for national identity formation. The complexity of the argument bears on whether and how history might have created deep styles of expression about regional cultural identities.
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机译：王家卫（Wong Kar Wai）是国际知名的后现代艺术电影导演，被广泛认为是当今亚洲的杰出人物（Wright，2002）。从亚洲文化研究的角度来看，王家卫电影被认为具有重要意义。对于他的作品，现有的批评范围非常广泛，尤其是社会解释以及对艺术电影业国际消费的影响。在这项研究中，我将文化研究中的非官方批评者的标准与地缘政治身份的概念相结合，以考察《荒野的日子》，《为爱而生》和《 2046年》的“三部曲”。Wong Kar Wai小说中时间与记忆的关系和意义电影在香港的历史和身份之间建立了重要的联系，香港是一个独特的西化亚洲大都市。随着香港回归中国的政治行政管理，香港文化身份的变化情况引发了人们的疑问，即西方，东方或这两种传统的国际化结合是否可能成为形成民族身份的选择。论证的复杂性在于历史是否以及如何创造出有关区域文化身份的深刻表达方式。
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