”Most people work 9 to 5. I'm the opposite. My job is simple; I go to visit friends from time to time. I don't know any of these people. They don't interest me either. Soon they will be gone forever. ”Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay This is how the character of Agent of the Killers, played by Michelle Reis, is introduced to us in the film Fallen Angels (Wong Kar-Wai, Do lok tin si, 1995): an unnamed woman dressed in latex and leopard print , who pushes the ravioli into her mouth with trembling hands while we see her chest up like a spot of color that separates her from the dark green background. His voiceover may cautiously allude to prostitution, but the Partner works with the bodies in other ways, arranging their killing. She never sells her body or has sex on screen (indeed, in an internal monologue she claims she hasn't been close to a man in a long time), yet her very being is imbued with lust and desire. Partner seems to be an archetype of it: from the way her character arc is based on her desire to have her partner in crime, to how she dresses and acts, to how the light and angles frame her. In this essay I will study how the character of the Partner is realized through costume, color, angles and props and how Wong Kar-Wai did it in such a way that he appears to be in control of his own eroticism. The costume is one of the most important and often one of the most underestimated parts of a character. In the book The Film Experience, authors Timothy Corrigan and Patricia White write about the role of costumes and makeup in film, pointing out that when its function is to highlight a character, they highlight important parts of that character's personality. In Fallen Angels Partner not only brings out important parts of his personality from the outside, but instead becomes one of the metaphors for his entire being. Her bangs cover her dark painted eyes, her lips are red and her clothes are short and revealing. It matches the general atmosphere of the film, as costumes and related accessories often contribute to the "overall visual impression and design of the film", but it is also a great example of how female seduction is seen from the outside. We realize Partner's awareness of this aspect of her personality in her last scene when she is sitting in a restaurant where the character He Zhiwu is also present. The partner just lost her, well, the partner who was her romantic interest and impetus for her erotic behavior. He wears a regular long-sleeved shirt for the second time in the film, the first time while washing clothes without any love interests around. Her hair is tied up and her eyes unpainted – until she makes eye contact with He Zhiwu and we are treated to a close-up of her face as she removes the bobby pin from her hair and lets her bangs cover her eyes as she did before. Then she asks him to take her home. This frank action tells the audience that yes, his way of dressing is directly linked to his behavior and yes, he is aware of his erotic power. - ColorKar-Wai makes strong use of color in his films, so strong that many articles and videos about him focus on his "color obsession", and one can interpret the use of color as symbolism; for emotions, events and perhaps also as a common thread between people and places. In Fallen Angels saturated neon lights illuminate the eternal night, subway stations and blinding LED lights. It's no wonder that scenes where Partner is the center of attention follow the same trend and candirectly reflect the character's being. If we take into account the different color schemes in the scenes in which the partners act, two main ones constantly recur: green and red. It seems like they are tailor-made for each specific event. Corrigan and White write that color is one of the most important things in image composition and complements our experience of what happens on the screen, they go on to state that "for example, when used effectively, metallic blues, muted greens and Deep reds can evoke very different emotions in viewers." What they don't do is explain exactly what emotions they bring out in us. Jon Fusco, however, does. In an article written on the “No Film School” web page, he writes about the psychology of color in cinema. According to him, each color used in the film can have both negative and positive connotations and sharpens the emotions of the scene. Red symbolizes, among other things, passion, anger, desire, danger and love. Green symbolizes, among other things, perseverance, renewal, fertility and envy. In the introduction to this essay I stated that partner appears to be an archetype of lust, “a very powerful feeling of wanting something,” and these two colors along with everything they represent are an extension of the definition. The two colors constantly intertwine. While she is cleaning the apartment, the green of the outside mixes with the warmer shade of the refrigerator, the masturbation scene is the one in which her red bag contrasts with the neon green clock in the background and the covers of her bed are in green and red checks, meeting "Blondie" in a subway station that has red walls and green LED lights. Emotions are contrasting and intertwined, envy and desire collide. However, there are scenes in which one color is absolutely dominant: red and yellow while Partner rubs himself against the jukebox, green in the final scene in the restaurant. A dark moment in black and white as the song "Wang ji ta" ("Forget It") plays in the background. In the last two scenes of Fallen Angels the scenes are more than influenced by color as the entire screen is a cool green (see first image), and here we can focus more on the "renewal" and "perseverance" of the psychology of green - through diegetic narration Partner describes his new life, how he now works with different people and no longer works in hotel rooms. “I firmly believe… that you shouldn't get emotionally involved with your partner. ”Immersed in the green light, she persevered despite the difficulties and renewed herself. Until He Zhiwu leans behind her with a face full of red, and she lowers her bangs. Angles Corrigan and White write that any interpretation that considers angles must be done carefully. So without further ado, here are some for Fallen Angels. Kar-Wai plays a lot with depth of field, especially with deep focus, where multiple planes of action are shown at once. The cinematic experience provides an example of deep concentration in the film The Best Years of Our Lives (William Wyles, The Best Years of Our Lives, 1946) where it creates relationships within a single image - where two groups of people meet happily in different rooms while everything is still visible and the theme of isolation is present in the distance. In deep focus scenes with your Fallen Angels partner, however, the resulting symbolism may be slightly different. Unlike The Film Experience's example of deep concentration where the four characters are shown in medium-long and long shots, Partner is less of a dialogue-based character and more of a monologue-based one and we see her in medium close-ups or..