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Bamcinématek Presents a Brand New 40Th Anniversary Restoration of Robert Clouse’S Enter the Dragon, Starring Bruce Lee, in a Week-Long Run, Aug 30—Sep 5
BAMcinématek presents a brand new 40th anniversary restoration of Robert Clouse’s Enter the Dragon, starring Bruce Lee, in a week-long run, Aug 30—Sep 5 Series sidebar features five wing chun classics including Sammo Hung’s The Prodigal Son, Chang Cheh’s Invincible Shaolin, and Bruce Lee’s The Way of the Dragon, beginning Aug 29 “Bruce Lee was the Fred Astaire of martial arts.”—Pauline Kael, The New Yorker The Wall Street Journal is the title sponsor for BAMcinématek and BAM Rose Cinemas. Brooklyn, NY/Aug 7, 2013—From Friday, August 30 through Thursday, September 5, BAMcinématek presents a week-long run of Robert Clouse’s Enter the Dragon, screening in a new DCP restoration for its 40th anniversary. In conjunction with the release of Wong Kar-wai’s Ip Man biopic The Grandmaster, this series revels in the lightning-fast moves of the revered kung fu tradition known as wing chun, featuring a five-film sidebar of martial arts rarities. Passed on through generations of martial artists, wing chun was popularized by icons like Sammo Hung and Ip’s movie-star disciple Bruce Lee—and has become an action movie mainstay. The first Chinese martial arts movie to be produced by a major Hollywood studio, Clouse’s Enter the Dragon features Bruce Lee in his final role before his untimely death (just six days before the film’s theatrical release). Shaolin master Mr. Lee (Lee) is recruited to infiltrate the island of sinister crime lord Mr. Han by going undercover as a competitor in a kung fu tournament. -
Screening of Martial Club (Lau Kar-Leung, 1981) AKA Instructors of Death (US Title) Vocabulary Terms
Screening of Martial Club (Lau Kar-leung, 1981) AKA Instructors of Death (US title) Vocabulary terms: Han = China’s main ethnic majority population Ming Dynasty= the last Han-led dynasty (1368–1644), which followed the collapse of the Mongol-led Yuan dynasty. Manchu = ethnically distinct population from northeastern Chinese provinces known as “Manchuria” Qing/Ching/Ch’ing Dynasty: the Manchu-led dynasty (1636/1644 - 1912), which conquered the Ming capital, Beijing, in 1644 and was in turn overthrown in 1912, when the Republic of China (1912-1949) was founded – making the Qing the last Chinese dynasty. Sifu [Cantonese]: skilled teacher or master Men (Mand.) / Mun (Canto.) = Kung fu schools/clans/clubs – as in: Jing Wu Men/Ching Mo Mun, both the main school and the Chinese film title for Bruce Lee’s Fist of Fury/The Chinese Connection [1971]). Martial Club features 3 of these. And Wang Lung Wei’s northerner might be from Jing Wu Men in Shanghai! [Huo Yuan Jia/Chen Zhen] Kuen/Kune: “Fist” or “style” (Jeet Kune Do, Joi Kuen, Hung Kuen) Gar: also means clan - as in Hung Gar or Hung Kuen Gar. This “Gar” might also be the same word as the “Kar” in Lau Kar-Leung, Lau Kar-fai, etc? Hung Gar/Hung Kuen/Hung Gar Kuen: style of Southern kung fu passed on from survivors of the burning of the southern Shaolin Temple in Fujian province through underground fraternal groups of anti-Qing rebels [Tongs] hiding out in Chinese opera troupes on Red Boats in Guangdong province, and on through a chain of teachers/sifus in Fujian, Guangdong, and (importantly, for cinema) Hong Kong… Hung Gar was founded by Luk Ah Choi/Lu A’Cai [who was San Te and Hung Hsi-Kuan’s student, and later Wong Fei Hung’s teacher!]. -
Recommended Reading
RECOMMENDED READING The following books are highly recommended as supplements to this manual. They have been selected on the basis of content, and the ability to convey some of the color and drama of the Chinese martial arts heritage. THE ART OF WAR by Sun Tzu, translated by Thomas Cleary. A classical manual of Chinese military strategy, expounding principles that are often as applicable to individual martial artists as they are to armies. You may also enjoy Thomas Cleary's "Mastering The Art Of War," a companion volume featuring the works of Zhuge Liang, a brilliant strategist of the Three Kingdoms Period (see above). CHINA. 9th Edition. Lonely Planet Publications. Comprehensive guide. ISBN 1740596870 CHINA, A CULTURAL HISTORY by Arthur Cotterell. A highly readable history of China, in a single volume. THE CHINA STUDY by T. Colin Campbell,PhD. The most comprehensive study of nutrition ever conducted. ISBN 1-932100-38-5 CHINESE BOXING: MASTERS AND METHODS by Robert W. Smith. A collection of colorful anecdotes about Chinese martial artists in Taiwan. Kodansha International Ltd., Publisher. ISBN 0-87011-212-0 CHINESE MARTIAL ARTS TRAINING MANUALS (A Historical Survey) by Brian Kennedy and Elizabeth Guo CHRONICLES OF TAO, THE SECRET LIFE OF A TAOIST MASTER by Deng Ming-Dao. Harper San Francisco, Publisher ISBN 0-06-250219-0 (Note: This is an abridged version of a three- volume set: THE WANDERING TAOIST (Book I), SEVEN BAMBOO TABLETS OF THE CLOUDY SATCHEL (Book II), and GATEWAY TO A VAST WORLD (Book III)) CLASSICAL PA KUA CHANG FIGHTING SYSTEMS AND WEAPONS by Jerry Alan Johnson and Joseph Crandall. -
Hong Kong Filmmakers Search: Eric TSANG
Eric TSANG 曾志偉(b. 1953.4.14) Actor, Director, Producer A native of Wuhua, Guangdong, Tsang was born in Hong Kong. He had a short stint as a professional soccer player before working as a martial arts stuntman at Shaw Brothers Studio along with Sammo Hung. In 1974, he followed Lau Kar-leung’s team to join Chang Cheh’s film company in Taiwan, and returned to Hong Kong in 1976. Tsang then worked as screenwriter and assistant director for Lau Kar-leung, Sammo Hung and Jackie Chan in companies such as Shaw Brothers and Golden Harvest. Introduced to Karl Maka by Lau, Tsang and Maka co-wrote the action comedy Dirty Tiger, Crazy Frog! in 1978. Tsang made his directorial debut next year with The Challenger (1979). In 1980, Tsang was invited by Maka to join Cinema City. He became a member of the ‘Team of Seven’, participating in story creation. He soon directed the record shattering Aces Go Places (1982) and Aces Go Places II (1983), while he also produced a number of movies that explored different filmmaking approaches, including the thriller He Lives by Night (1982), Till Death Do We Scare (1982), which applied western style make-up and special effects, and the fresh comedy My Little Sentimental Friend (1984). Tsang left Cinema City in 1985 and became a pivotal figure in Hung’s Bo Ho Films. He was the associate producer for such films as Mr. Vampire (1985) and My Lucky Stars (1985). In 1987, Tsang co-founded Alan & Eric Films Co. Ltd. with Alan Tam and Teddy Robin. -
China's Capacity to Manage Infectious Diseases
China’s Capacity to Manage Infectious Diseases CENTER FOR STRATEGIC & Global Implications CSIS INTERNATIONAL STUDIES A Report of the CSIS Freeman Chair in China Studies 1800 K Street | Washington, DC 20006 PROJECT DIRECTOR Tel: (202) 887-0200 | Fax: (202) 775-3199 Charles W. Freeman III E-mail: [email protected] | Web: www.csis.org PROJECT EDITOR Xiaoqing Lu March 2009 ISBN 978-0-89206-580-6 CENTER FOR STRATEGIC & Ë|xHSKITCy065806zv*:+:!:+:! CSIS INTERNATIONAL STUDIES China’s Capacity to Manage Infectious Diseases Global Implications A Report of the CSIS Freeman Chair in China Studies PROJECT DIRECTOR Charles W. Freeman III PROJECT EDITOR Xiaoqing Lu March 2009 About CSIS In an era of ever-changing global opportunities and challenges, the Center for Strategic and Inter- national Studies (CSIS) provides strategic insights and practical policy solutions to decisionmak- ers. CSIS conducts research and analysis and develops policy initiatives that look into the future and anticipate change. Founded by David M. Abshire and Admiral Arleigh Burke at the height of the Cold War, CSIS was dedicated to the simple but urgent goal of finding ways for America to survive as a nation and prosper as a people. Since 1962, CSIS has grown to become one of the world’s preeminent public policy institutions. Today, CSIS is a bipartisan, nonprofit organization headquartered in Washington, D.C. More than 220 full-time staff and a large network of affiliated scholars focus their expertise on defense and security; on the world’s regions and the unique challenges inherent to them; and on the issues that know no boundary in an increasingly connected world. -
Download Heroic Grace: the Chinese Martial Arts Film Catalog (PDF)
UCLA Film and Television Archive Hong Kong Economic and Trade Office in San Francisco HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Front and inside cover: Lau Kar-fai (Gordon Liu Jiahui) in THE 36TH CHAMBER OF SHAOLIN (SHAOLIN SANSHILIU FANG ) present HEROIC GRACE: THE CHINESE MARTIAL ARTS FILM February 28 - March 16, 2003 Los Angeles Heroic Grace: The Chinese Martial Arts Film catalog (2003) is a publication of the UCLA Film and Television Archive, Los Angeles, USA. Editors: David Chute (Essay Section) Cheng-Sim Lim (Film Notes & Other Sections) Designer: Anne Coates Printed in Los Angeles by Foundation Press ii CONTENTS From the Presenter Tim Kittleson iv From the Presenting Sponsor Annie Tang v From the Chairman John Woo vi Acknowledgments vii Leaping into the Jiang Hu Cheng-Sim Lim 1 A Note on the Romanization of Chinese 3 ESSAYS Introduction David Chute 5 How to Watch a Martial Arts Movie David Bordwell 9 From Page to Screen: A Brief History of Wuxia Fiction Sam Ho 13 The Book, the Goddess and the Hero: Sexual Bérénice Reynaud 18 Aesthetics in the Chinese Martial Arts Film Crouching Tiger, Hidden Dragon—Passing Fad Stephen Teo 23 or Global Phenomenon? Selected Bibliography 27 FILM NOTES 31-49 PROGRAM INFORMATION Screening Schedule 51 Print & Tape Sources 52 UCLA Staff 53 iii FROM THE PRESENTER Heroic Grace: The Chinese Martial Arts Film ranks among the most ambitious programs mounted by the UCLA Film and Television Archive, taking five years to organize by our dedicated and intrepid Public Programming staff. -
122851 TXT Placed.Indd
Electronic Book Review: China and Inner Asia “storytelling” to bring out the different voices of the “coming out” stories of her interviewees, underlining how these stories are closely tied with the national and global imagining of China’s opening up. In chapter 3, she discusses quite lengthily her fieldwork, paying special attention to the problem of representation and legitimization. She is particularly sensitive to her own role as “a semi-outsider, a non-gay female, a researcher from Australia, a citizen of Hong Kong, a visiting scholar of the Chinese Academy of Social Sciences in Beijing, and a non-Beijing resident in the field” (60) who has done research on gays and lesbians in urban China. Chapter 4 is a rather short chapter on the politics of same-sex articulations through the divergent meanings of “homosexual,” “gay” and “lesbian” in the Chinese context, using a linguistic analysis. In chapter 5, she turns into the increasingly commercialized and state-controlled Chinese gay cyberworld. Building from the previous chapters, chapter 6 is the most important and interesting chapter, as Ho puts forward her main argument that the emergence of modern Chinese same-sex identities cannot merely be treated as “modern” (read Western) or “authentic” (read indigenous), but are constituted by a complicated interplay between local coming-to-terms gay and lesbian generations, China’s project of modernity, and global queering. This is a rather short book, seemingly converted from Ho’s PhD thesis. As noted by the author, there are plenty of areas for further investigation. I enjoyed reading it very much but would like to read more. -
The Fight Master, Spring/Summer 2003, Vol. 26 Issue 1
Marshall University Marshall Digital Scholar Fight Master Magazine The Society of American Fight Directors Summer 2003 The Fight Master, Spring/Summer 2003, Vol. 26 Issue 1 The Society of American Fight Directors Follow this and additional works at: https://mds.marshall.edu/fight Part of the Acting Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the Theatre History Commons MMARTIALARTIALAARTSRTS ONON TTOUROUR BBARAR FFIGHTSIGHTS In Voice of the Dragon, Miao Hin (Philip Silvera, left) battles with his nemesis Red Phoenix Manchu Warrior (Bilqis Benu). Martial arts choreography and photo provided by Jose Manuel Figueroa. The 24th Annual Society of American Fight Directors National Stage Combat Workshops July 7-25, 2003 SAFD and University of Nevada-Las Vegas College of Fine Arts, Department of Theatre ForFor moremore information:information: LindaLinda McCollumMcCollum atat (702)(702) 895-3662895-3662 oror www.safd.orgwww.safd.org www.safd.org Actor/Combatant Workshop (ACW) Train in the foundation skills of stage combat. World-class industry professionals teach tech- niques in Rapier and Dagger, Unarmed and Broadsword. Additionally, participants will receive an introduction to Quarterstaff, film fighting, and other weapon styles. Participants may opt to take an adjudicated Skills Proficiency Test at the end of the workshop. Intermediate Actor/Combatant Workshop (IACW) Move past the basics in this exciting workshop. Study many weapon styles and other issues of fight performance for stage and film. Build onto your existing knowledge of stage combat under the tutelage of a wide array of world-class industry professionals. Participants may opt to take a combination of adjudicated Skills Proficiency Tests or Renewal Tests in up to six weapon forms at the workshop. -
Martial Arts Cinema and Hong Kong Modernity
Martial Arts Cinema and Hong Kong Modernity Aesthetics, Representation, Circulation Man-Fung Yip Hong Kong University Press Th e University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2017 Hong Kong University Press ISBN 978-988-8390-71-7 (Hardback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any infor- mation storage or retrieval system, without prior permission in writing from the publisher. An earlier version of Chapter 2 “In the Realm of the Senses” was published as “In the Realm of the Senses: Sensory Realism, Speed, and Hong Kong Martial Arts Cinema,” Cinema Journal 53 (4): 76–97. Copyright © 2014 by the University of Texas Press. All rights reserved. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Co., Ltd. in Hong Kong, China Contents Acknowledgments viii Notes on Transliteration x Introduction: Martial Arts Cinema and Hong Kong Modernity 1 1. Body Semiotics 24 2. In the Realm of the Senses 56 3. Myth and Masculinity 85 4. Th e Diffi culty of Diff erence 115 5. Marginal Cinema, Minor Transnationalism 145 Epilogue 186 Filmography 197 Bibliography 203 Index 215 Introduction Martial Arts Cinema and Hong Kong Modernity Made at a time when confi dence was dwindling in Hong Kong due to a battered economy and in the aft ermath of the SARS epidemic outbreak,1 Kung Fu Hustle (Gongfu, 2004), the highly acclaimed action comedy by Stephen Chow, can be seen as an attempt to revitalize the positive energy and tenacious resolve—what is commonly referred to as the “Hong Kong spirit” (Xianggang jingshen)—that has allegedly pro- pelled the city’s amazing socioeconomic growth. -
Healthy China: Deepening Health Reform in China Building High-Quality and Value-Based Service Delivery
Part Title Healthy China: Deepening Health Reform in China Building High-Quality and Value-Based Service Delivery A copublication of the World Bank and the World Health Organization © 2019 International Bank for Reconstruction and Development / The World Bank and World Health Organization 1818 H Street NW, Washington, DC 20433 Telephone: 202-473-1000; Internet: www.worldbank.org Some rights reserved 1 2 3 4 22 21 20 19 The findings, interpretations, and conclusions expressed in this work do not necessarily reflect the views of The World Bank, its Board of Executive Directors, or the governments they represent, or those of WHO. The World Bank and WHO do not guarantee the accuracy of the data included in this work. The boundaries, colors, denominations, and other information shown on any map in this work do not imply any judgment on the part of The World Bank and/or WHO concerning the legal status of any territory or the endorsement or acceptance of such boundaries. Nothing herein shall constitute or be considered to be a limitation upon or waiver of the privileges and immunities of The World Bank or the WHO, all of which are specifically reserved. Rights and Permissions This work is available under the Creative Commons Attribution 3.0 IGO license (CC BY 3.0 IGO) http:// creativecommons.org/licenses/by/3.0/igo. Under the Creative Commons Attribution license, you are free to copy, distribute, transmit, and adapt this work, including for commercial purposes, under the follow- ing conditions: Attribution—Please cite the work as follows: World Bank and World Health Organization. -
March 2019 CURRICULUM VITAE DENNIS TAO YANG PERSONAL INFORMATION Work Address
March 2019 CURRICULUM VITAE DENNIS TAO YANG PERSONAL INFORMATION Work Address: Darden School of Business University of Virginia (UVA) Charlottesville, VA 22906, USA Phone: (434) 9240906 Email: [email protected] Date and Place of Birth: February 1, 1966; Beijing, China Marital Status: Married; two children Citizenship: United States of America EDUCATION 1994 Ph.D., Economics, University of Chicago 1987 B.A., Economics, Magna Cum Laude, University of California, Los Angeles 1984 International Baccalaureate, United World College, Trieste, Italy FIELDS OF INTEREST Economic Development and Growth Labor and Demographic Economics Economics of China and Transition PROFESSIONAL EXPERIENCE Academic Positions: 2013 Dale S. Coenen Free Enterprise Professor, Darden School of Business, UVA 2012 Professor, Darden School of Business, UVA 201316 Chang Jiang Scholar Professorship, Antai College of Economics and Management, Shanghai Jiao Tong University, China 200712 Professor, Department of Economics, Chinese University of Hong Kong (CUHK) 200607 Professor, Department of Economics, Virginia Polytechnic Institute and State University (Virginia Tech); 20012005, Associate Professor 19942001 Assistant Professor, Department of Economics, Duke University 2012 Senior Fellow, Economic Research Center, Hong Kong Institute of Asia-Pacific Studies, CUHK 2010 Research Fellow, Institute for the Study of Labor (IZA), Germany 200514 Senior Fellow, Center for China in the World Economy, Tsinghua University 200713 Senior Fellow, China Center for Public Finance, -
Title Does the Karate Kid Have a Kung Fu Dream? Hong Kong Martial Arts
Does the Karate Kid Have a Kung Fu Dream? Hong Kong Martial Title Arts between Hollywood and Beijing Author(s) Marchetti, G JOMEC Journal: Journalism, Media and Cultural Studies, 2014, Citation n. 5 Issued Date 2014 URL http://hdl.handle.net/10722/204953 Rights Creative Commons: Attribution 3.0 Hong Kong License JOMEC Journal Journalism, Media and Cultural Studies Does the Karate Kid Have a Kung Fu Dream? Hong Kong Martial Arts between Hollywood and Beijing Gina Marchetti University of Hong Kong Email: [email protected] Keywords The Karate Kid choreography wu shu movie fu real kung fu Abstract This analysis of the martial arts choreography in The Karate Kid (2010) examines the contradictory matrix in which action films produce meanings for global audiences. A remake of a 1984 film, this iteration of The Karate Kid begins its imaginative battle over martial arts turf with English and Chinese titles at odds with one another. For English- speaking audiences, the title of the film promises a remake of the popular 1984 story of a displaced Italian American teenager (Ralph Macchio) trained by a Japanese American sensei (Pat Morita) to compete against the local karate bullies. However, the 2010 version has another identity competing with the first. Its Chinese title translates as Kung Fu Dream – Japanese culture, karate, and domestic American class and racial politics out of the picture. In this version, an African American youngster (Jaden Smith) moves to Beijing from Detroit and is taken under the wing of a drunken kung fu master (Jackie Chan) to battle a group of wu shu/san da villains.