Wong Kar-Wai in Hong Kong cinema after 1980: A view of society from women

In the thesis, based on six films of Wong Kar-wai, one of the directors of Hong Kong Cinema's Second New Wave - As Tears Go By (1988), Days of Being Wild (1990), Chungking Express (1994), Fallen Angels (1995), In the Mood for Love (2000) , 2046 (2004) - we tried to examine the ideal and existing Hong Kong(ers) situations, based on the male and female characters of the director. We saw that the director showed these representations with two different points of view, evaluating Hong Kong(ers), on the characters in the films. Based on this, Hong Kong's female characters is thought as ideal and actually is desired to be found by Kar-wai. We aimed to examine the films and characters within this framework, considering that he attributes the features he thinks to be in 'reality' and that these are interpreted on male characters. It is important to consider at the sociological and historical processes of the city of Hong Kong in order for our thinking to be reflected in the movies. In this study, we tried to pass on the story of the city with different perspectives obtained from different sources. Hong Kong had been colonized by Britain for 150 years and returned to China in 1997. At this process, we tried to understand and discuss it over the periodic characteristics of the city. In the second part of the thesis, we focused on Hong Kong cinema and tried to explain the close relationship of the city and its cinema with historical, sociological, cultural, economic and political processes. We talked about the position of the city in the world cinema and conveyed its situation in the history of cinema and the world cinema. In the last part, we concentrated the importance of Wong Kar-wai in Hong Kong cinema and examined the thoughts that emerged in his films. We concluded our study by trying to look at what the ideal and existing Hong Kong representations we focused on within the framework of our thinking and their qualities.