New PANK post on dubbing, watching Mulan in German, my ten-year-old self as an evil Cyrano de Bergerac, Yoko Tawada, the haunted house of language, the Japanese movie Fish Story. More writing to raise the dead.
I hear that Zhang Ziyi is supposedly starring in an upcoming 3D film adaptation of the Mulan story. Zhang Ziyi, that ultimate Asian girl, whom I have been wanting to write an essay about for a long time. An essay about singularity, refusal, ultimate Asian girlhood. But an essay about refusal refuses me, too.
I forgot to say thank you to Film Studies For Free for featuring ENVOI in their recent Wong Kar-wai issue.
Tired of the queer erasure of HAPPY TOGETHER from the Wong Kar-wai filmography. No one talks about it. Actually just read the description of an essay about WKW’s work that said the writers would be exploring: DAYS OF BEING WILD, FALLEN ANGELS, CHUNGKING EXPRESS, IN THE MOOD FOR LOVE, 2046, MY BLUEBERRY NIGHTS.
God. I could probably take HAPPY TOGETHER and leave the rest behind. Maybe except for DAYS OF BEING WILD. Maybe except for CHUNGKING EXPRESS.
(Faye Wong in CHUNGKING EXPRESS. Her way of loving. And the way that Tony Leung looks at her, in the very last scene.)
Also, having just seen (and surreptitiously recorded, with a handheld video camera, for future mischief) Isaac Julien’s TEN THOUSAND WAVES in Munich: now thinking about how much IN THE MOOD FOR LOVE has really damaged the cinematic representation of Asian women.
(If I have to see another lacquered woman in a cheongsam walking slowly nowhere——)
I ate some fruit for the first time in a year, then some Aldi chocolate, and discovered a cup of mold on my desk. Now my face and body are scarred all over again. When am I going to stop being so porous? So affected. The word is sensitive. The word is never.