{"id":935,"date":"2016-05-04T22:51:21","date_gmt":"2016-05-05T02:51:21","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/?p=935"},"modified":"2016-05-08T21:04:21","modified_gmt":"2016-05-09T01:04:21","slug":"contrasting-colors-contrasting-moods","status":"publish","type":"post","link":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/the-cinematic\/contrasting-colors-contrasting-moods\/","title":{"rendered":"Contrasting Colors, Contrasting Moods"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\" size-medium wp-image-936 aligncenter\" src=\"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-content\/uploads\/sites\/112\/2016\/05\/Screen-Shot-2016-05-04-at-12.37.32-AM-300x167.png\" alt=\"Screen Shot 2016-05-04 at 12.37.32 AM\" width=\"300\" height=\"167\" srcset=\"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-content\/uploads\/sites\/112\/2016\/05\/Screen-Shot-2016-05-04-at-12.37.32-AM-300x167.png 300w, https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-content\/uploads\/sites\/112\/2016\/05\/Screen-Shot-2016-05-04-at-12.37.32-AM-150x84.png 150w, https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-content\/uploads\/sites\/112\/2016\/05\/Screen-Shot-2016-05-04-at-12.37.32-AM-624x348.png 624w, https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-content\/uploads\/sites\/112\/2016\/05\/Screen-Shot-2016-05-04-at-12.37.32-AM.png 779w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><img loading=\"lazy\" decoding=\"async\" class=\"  wp-image-937 aligncenter\" src=\"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-content\/uploads\/sites\/112\/2016\/05\/Maggie-Cheungs-costumes-In-The-Mood-for-Love-3-e1380792319193-300x180.png\" alt=\"Maggie-Cheungs-costumes-In-The-Mood-for-Love-3-e1380792319193\" width=\"298\" height=\"179\" srcset=\"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-content\/uploads\/sites\/112\/2016\/05\/Maggie-Cheungs-costumes-In-The-Mood-for-Love-3-e1380792319193-300x180.png 300w, https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-content\/uploads\/sites\/112\/2016\/05\/Maggie-Cheungs-costumes-In-The-Mood-for-Love-3-e1380792319193-150x90.png 150w, https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-content\/uploads\/sites\/112\/2016\/05\/Maggie-Cheungs-costumes-In-The-Mood-for-Love-3-e1380792319193.png 590w\" sizes=\"auto, (max-width: 298px) 100vw, 298px\" \/><\/p>\n<p>In her piece, \u201cSurface, Fabric, Weave: The Fashioned World of Wong Kar-Wai,\u201d Giuliana Bruno discusses how costume design in \u201cIn The Mood For Love\u201d is a deliberately aesthetic choice as a complement to the surrounding set. Fashion, color, and texture act as a subconscious means of creating moods and feelings within the audience. In the above mis en scenes, film producers in \u201cIn The Mood For Love\u201d uses two different Qipaos to reflect main character, Maggie\u2019s, emotions to the audience. In the first scene, Maggie somberly retrieves noodles from a noodle bar in a mute-toned qipao in which she runs into her neighbor. Later in the film, Maggie accompanies her neighbor to dinner in a quote differently styled qipao; one of bright colors and patterns.<\/p>\n<p>The images exemplify how fashion aesthetics act as an art form to <span style=\"text-decoration: underline\">engage space and color<\/span> in the film to <span style=\"text-decoration: underline\">depict the mood<\/span> of the character within the scene. When viewing the above mis en scenes in \u201cThe Mood For Love,\u201d one can\u00a0compare differences\u00a0between the two photos through their similarities in an attempt to determine the mood of the scene.<\/p>\n<p><strong>Qipao:\u00a0<\/strong><\/p>\n<ul>\n<li>Scene 1- In the first mis en scene Maggie wears a qipao of subdued colors that reflect a sense of loneliness and withdrawal. \u00a0Maggie lethargically meanders into the takeout noodle bar, and though she appears graceful and walks steadfast, the qipao she wears tells the story of pain and a cheating husband. No words are spoken in this scene, however the\u00a0color of the qipao successfully exudes Maggie&#8217;s present mood as one forlornness and dull heartache.<\/li>\n<li>Scene 2- In the second scene, Maggie&#8217;s qipao is bright, almost neon, and patterned. \u00a0Though Maggie again ventures to eat noodles, the mood is more energetic\u00a0than the aforementioned\u00a0scene. Maggie&#8217;s dress reflects a zealousness that was absent in the 1st scene, as new romance makes her more spirited and lively.<\/li>\n<\/ul>\n<p><strong>The Male Figure:<\/strong><\/p>\n<ul>\n<li>Scene 1- The male figure, Maggie&#8217;s neighbor and love interest, is a key similarity in both scenes. \u00a0In the first scene, the two are just meeting, and an impeding connection is felt between the pair. \u00a0They both exude a similar sadness in this scene that foreshadows their attraction.<\/li>\n<li>Scene 2- Maggie&#8217;s love interest is closer to Maggie in this scene, and his body is now faced toward hers, suggesting an opening up of emotions and deepening of their relationship. \u00a0Similar to clothing, body language acts as an aesthetic art form that displays unseen thoughts of the characters or rather, their inner feelings.<\/li>\n<\/ul>\n<p><strong>Space and Texture (Wall):\u00a0<\/strong><\/p>\n<ul>\n<li>Scene 1- Maggie, in her neutral qipao, becomes &#8220;one&#8221; with a plain, dark wall, blending into its shadows. \u00a0This suggests that Maggie has fallen into the shadows and textures of the wall in a mood of somberness. \u00a0She cowers slightly into the wall, but despite her camouflaging, Maggie still makes a connection with her love interest.<\/li>\n<li>Scene 2- Again, Maggie matches the wall behind her, however, this wall is colorful and flashy; a kaleidoscope of more vivid and vibrant emotions. \u00a0She does not cower against the wall in this scene, but outshines it in its exuberance. \u00a0This greater suggests how Maggie&#8217;s mood has transformed and become brighter as her relationship has flourished.<\/li>\n<\/ul>\n<p>In conclusion, the constants\u00a0in these scenes (clothing, man, wall) reflect how Maggie&#8217;s inner emotions and mood have grown and transformed as her relationship has become more in depth throughout the passage of time.<\/p>\n<p><em><strong>well analyzed sequence and persuasive connotations<\/strong> <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>In her piece, \u201cSurface, Fabric, Weave: The Fashioned World of Wong Kar-Wai,\u201d Giuliana Bruno discusses how costume design in \u201cIn The Mood For Love\u201d is a deliberately aesthetic choice as a complement to the surrounding set. Fashion, color, and texture act as a subconscious means of creating moods and feelings within the audience. In the [&hellip;]<\/p>\n","protected":false},"author":311,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[],"class_list":["post-935","post","type-post","status-publish","format-standard","hentry","category-the-cinematic"],"_links":{"self":[{"href":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-json\/wp\/v2\/posts\/935","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-json\/wp\/v2\/users\/311"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-json\/wp\/v2\/comments?post=935"}],"version-history":[{"count":0,"href":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-json\/wp\/v2\/posts\/935\/revisions"}],"wp:attachment":[{"href":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-json\/wp\/v2\/media?parent=935"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-json\/wp\/v2\/categories?post=935"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/asian-studies-2076-spring-2016\/wp-json\/wp\/v2\/tags?post=935"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}