As one of the representative figures of Hong Kong, China cinema, Wong Kar-wai is renowned for his unique narrative style and delicate portrayal of emotions. He sets numerous scenes in Hong Kong, a city where Chinese and Western cultures converge, reflecting the spiritual world of marginalized social groups. His narratives exhibit typical post-modernist characteristics, namely, the connection of fragmented clips, the disruption of time, and the constant collage and reorganization of fantasies and memories according to the needs of the plot, forming a stream-of-consciousness film plot. In his films, the name "Su Lizhen" appears repeatedly, becoming a symbolic image that embodies the emotional and cultural traits of that era. This paper takes Su Lizhen in Days of Being Wild, In the Mood for Love, and 2046 as the research objects, combines the context of Hong Kong's, China post-modern culture, analyzes the characteristics of her female image, explores its internal resonance with post-modern cultural features such as Hong Kong's identity, historical memory, and urban alienation, and reveals Wong Kar-wai's interpretation of Hong Kong's cultural spirit through this image.
Dong Kexin (Wed,) studied this question.