Examines Hong Kong art cinema, especially the work of film director Wong Kar-Wai, as a means of illustrating a use of music in film that puts a strain on the distinctions between diegetic music and its authoritative other, the non-diegetic, which have played a crucial role in developing a critical approach to film music.Wong Kar-Wei uses public domain music so that it becomes part of the plot and actively involves the characters in its performance.The discussion focuses on two films from the mid-1990s:Chungking Express and Fallen Angels.
Binns, A. (2008). Desiring the diegesis: music and self-seduction in the films of Wong Kar Wai. CineMusic?: constructing the film score (127 - 140). Cambridge Scholars Publishing