Jump to ContentJump to Main Navigation
John Woo’s The Killer$
Users without a subscription are not able to see the full content.

Kenneth E. Hall

Print publication date: 2009

Print ISBN-13: 9789622099562

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622099562.001.0001

Show Summary Details
Page of

PRINTED FROM HONG KONG SCHOLARSHIP ONLINE (www.hongkong.universitypressscholarship.com). (c) Copyright Hong Kong University Press, 2020. An individual user may print out a PDF of a single chapter of a monograph in HKSO for personal use.date: 20 February 2020

Style and Structure in The Killer

Style and Structure in The Killer

Chapter:
(p.22) (p.23) 3 Style and Structure in The Killer
Source:
John Woo’s The Killer
Author(s):

Kenneth E. Hall

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789622099562.003.0004

The Killer is a salient example of cross-cultural influence in Hong Kong filmmaking. This is true in generic, thematic, and stylistic or structural terms. The film provides clear glimpses of the join between Western and Asian cultures in its marriage of the hitman/wuxia form; of the Western and Asian chivalric traditions; of Western cinematic technique and Chinese art and film aesthetics; and of specific influence from Western and Asian models. Because the film is self-consciously “artistic”, it is an enlightening exhibit in the study of the fusion of Western and Asian film cultures. One of the most important points of contact to be found in the film is the widely known stylistic feature of film noir. Woo's techniques like the jump cutting and the “edited zoom”are integrated into the theme and context of the narrative and serves as strong punctuation.

Keywords:   Chow Yun-fat, Danny Lee, jump cutting, film aesthetics, film noir, edited zoom

Hong Kong Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .