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John Woo’s The Killer$
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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

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Style and Structure in The Killer

Style and Structure in The Killer

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

Kenneth E. Hall

Hong Kong University Press

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

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