Sensations Films vs Action Films. The Eastern bet: Wong Kar-wai as a paradigm

Abstract

The term «action film» for the most cost-effective model of hegemonic mainstream has consolidated over time and even Western cinema has come to penetrate other markets with unusual force, but this model is based on the effectiveness of a series of unwritten rules that allow spectatorial identification processes and the still journey. Eastern cinema never was subject to Western normativisation, so that generated materials that gave more importance to the fruitive spectator in the process, since the critical participation, detached, allowed greater self-awareness.With this premise, the text intends to use some features of the films of Wong Kar-wai to demonstrate the validity of a cinema of sensations against an action movie.