From the author of the pathbreaking Situated Listening (2016), Remixing Wong Kar-wai is a poetic, wide-ranging evocation of the Hong Kong filmmaker's modus operandi. Dubbed once the “best ear in the industry,” Wong crafts the soundtracks of his films by jettisoning original scores in favor of commercial recordings.
Remixing Wong Kar-wai examines the combinatorial practice at the heart of Wong’s cinema to retheorize musical borrowing, appropriation, and repurposing in Hong Kong cinema and beyond.
In this book talk, author Giorgio Biancorosso will discuss the ways in which we can restore listening to the center of musicology — and oblivion to that of culture.
Giorgio Biancorosso’s work investigates the boundaries of music and sound in the theater, cinema and digital media. He is the author of Situated Listening: The Sound of Absorption in Classical Cinema (Oxford, 2016) and Remixing Wong Kar Wai: Music, Bricolage, and the Aesthetics of Oblivion (Duke, 2024).
Biancorosso is the co-founder and co-editor of the journal SSS (Sound-Stage-Screen) and contributing editor of Scoring Italian Cinema: Patterns of Collaboration (Routledge, 2025). He is also active as a dramaturg and director. His staging of The Longest Days and the Shortest Days, a tech-cantata by Eugene Birman, was premiered at the Gulbenkian Auditorium (Lisbon) in 2022 and will tour East Asia in 2026.
Biancorosso is Professor of Music and inaugural director of the Society of Fellows at The University of Hong Kong. He is currently 2024-25 Luce East Asia Fellow in Musicology at the National Humanities Center, N.C.
This talk was rescheduled from February 20
Asian Pacific Studies Institute (APSI); Asian Pacific Studies Institute (APSI); Asian Pacific Studies Institute (APSI); Asian Pacific Studies Institute (APSI); Asian Pacific Studies Institute (APSI); Asian Pacific Studies Institute (APSI)
Department of Music; Department of Literature; Department of Music
