The impact of this narrative convention on our ability to witness characters progression is extensive, as it forces mise-en-en-scene into the centre stage of understanding who these characters are and where they are going. Ho’s whereabouts. In this sense, she demonstrates no clear-cut attitude towards fidelity. Ho and his mistresses by organising trysts, gifts and telling falsehoods about Mr. Her moral views on fidelity are ambiguous as throughout the film she facilitates the affair of Mr. Chan does not express a desire or motive through narration and there is significant ambiguity around her personal qualities. This summation of prototypical art film characters can be most poignantly associated with the character of Mrs. Bordell (207) states that prototypical characters within an art film tend to lack clear-cut traits, motives and goals. In the Mood for Love is recognised as an art house film and adheres to many of the archetypal tropes of the genre. Many of these conventions have a direct impact on the characters progression through the traditional story telling method of narrative. The essay will specifically examine how both main characters’ significant yet subtle character progression is demonstrated in the mise-en-scene and editing of In the Mood for Love rather than the limiting narrative conventions of the genre.
This essay explores how the characters in In the Mood for Love (Kar-Wai Wong, 2000) progress in the context of the time and space Wong has created.
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