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Abstract
In order to promote an understanding of the centrality of space and the intimate relationship between space and identity in Wong Kar-wais films, this dissertation examines the directors construction of cinematic space and the characters sense of who they are in relation to Hong Kong in his six films Days of Being Wild, In the Mood for Love, 2046, As Tears Go by, Chungking Express, and Fallen Angels. The investigation of Wongs use of cinematic space involves the analysis of his selection of location and strategic employment of the mise-en-scne, camera angles, lenses, lighting, and music, which constitute his fictional world. It is my assertion that Wongs construction of Hong Kong in these films responds to the formation and transformation of identity and showcases the impact of colonialism, modernization, decolonization, globalization, and postmodern culture upon the lives of Hong Kong inhabitants.