Chungking Express is ever so inspiring, but, In The Mood For Love beats it hands down. The idea of Chungking Express lies in the very notion of being so close in proximity but not in reciprocity.
In the movie, Takeshi fell in love with a woman 57 hours after brushing by this very woman at the start without knowing that they were once so close, yet so distant at the same time. In this urban landscape we are often surrounded with people, yet the irony kicks in when you feel lonely at the same time.
It’s been a long while since I shot anything worth archiving on silver-gelatin print. It’s not that the passion wore out but rather, time is definitely not on my side. Thankfully with this assignment 1, and also the holidays, I had time to explore. I always like the idea of being alone in a foreign land, to be engulfed with people whom you don’t know, and living in the world of your own. I like traveling alone, it is almost like a serendipitous discovery of personal space.
Though i really wished I was away during this CNY holiday, I couldn’t afford a ticket thus I decided to document a persona that I deem fitting of me if I were to travel alone again. I never liked goodbyes, I had my fair share of really hard ones. But when you say goodbye to a total stranger, it felt sort of liberating; you get a sense of fulfillment, closure in the most intangible form. Whoever you are, don’t worry, there are no emotional baggage in this.
Editor’s note: After the critique session, it seemed like juxtaposing the interior shot of the gate walk in the terminal with one from the MRT moving walkway seemed a bit awkward. Thus I have decided to move sequence 4 in this narrative series to depict that the human figure embarked on the journey from the moving walkway in the Changi Airport MRT as the establishing shot.
Goodbye Stranger is a piece conceived with the ideas and hopes that soon enough, I will be in his shoes as someone, unknown, bids goodbye to me in the most tacit ways.
This is the initial sequence:
This is the revised sequence:
To talk in terms of academic relation of this piece with the Scott McCloud’s transitions of panels, this work adopted the use of Aspect-to-Aspect, with the ghost motif (to reflect the stinger) as one of the key idea. In addition, through the depiction of the motion blur of main characters in this series is also to be taken into account when we talk about transiting from aspect to aspect. The use of the ghost motif is to parallel that of an idea that we connote with strange, unfamiliar thing, which is the key theme is this pictorial sequence.