Come Drink with Me Da Zui Xia

Total Page:16

File Type:pdf, Size:1020Kb

Come Drink with Me Da Zui Xia 62 Come Drink With Me Da zui xia Regie: King Hu Land: Hong Kong 1966. Produktion: Shaw Brothers. Regie: King Hu Note (a.k.a. Hu King-chuan). Buch: King Hu, Erh Yang. Kamera: He Lan- COME DRINK WITH ME is being presented as part of the shan. Songtexte: King Hu. Musik: Zhou Lan-ping. Musiküberwachung: series ‘Tribute to Shaw Brothers.’ Further information can Zhou Lan-ping. Ton: Wang Yung-hua. Ausstattung: Johnson Tsao. Maske: be found under # 61. Fang Yuan. Regieassistenz: Erh Yang, Tsou Han-pin. Schnitt: Chiang The Cantonese title of the film is ‘Daai chui hap.’ Hsing-loong. Produzent: Run Run Shaw. Darsteller: Cheng Pei-pei (Chang Hsuan-yen), Yueh Hua (Fan Ta-p’i), Synopsis Chen Hung-lieh (Ting Chung-yu), Li Yun-chung (Tsu Kan), Yang Chi- Two prison vans escorted by warden Chang Pu-ching are ching (Tiao Chin-tang), Feng I (Hou Chen), Wang Chung (Chang Pu- brought to a halt by a pedestrian. The notorious prisoners ching), Shen Lao (Wu Pao). “Blue Tiger” Wu Pao and “Red Tiger” Hou Tsun escape during Format: 35mm, Cinemascope, Farbe. Länge: 94 Minuten, 24 B/Sek. an ensuing battle. The pedestrian turns out to be “Jade Sprache: Chinesisch (Mandarin). Face Tiger” of the “Five Tiger Gang.” Weltvertrieb: Celestial Pictures Limited, Shaw Administration Building, On being informed that the gang leader has been escorted Lot 220 Clear Water Bay Road, Kowloon, Hong Kong. Tel.: (852) 2927 to the county magistracy by another route, “Jade Face 1111, Fax: (852) 2243 1100. e-mail: [email protected] Tiger” captures Chang Pu-ching and sends him to Tsu Yun Temple as a hostage. He writes to the magistrate demand- Anmerkung ing the release of his boss within five days or the warden COME DRINK WITH ME wird im Rahmen der Reihe ‘Tribute to Shaw will be killed and the magistrate’s office burned down. Brothers’ präsentiert. Nähere Informationen unter Nr. 61. The warden happens to be the son of the magistrate. His Der kantonesische Titel des Films lautet ‘Daai chui hap’. sister Chang Hsuan-yen, nicknamed “Golden Swallow,” is an accomplished fighter. Disguised as a man, she decides Inhalt to meet the gang and arrives at a tavern where they lie in Ein Fußgänger bringt zwei Gefängniswagen, die von Chang Pu-ching wait. She routs them easily. begleitet werden, zum Stehen. Während des folgenden Kampfes ent- “Jade Face Tiger” goes back to the tavern and orders fliehen die berüchtigten Gefangenen ‘Blue Tiger’ Wu Pao und ‘Red “Golden Swallow” tied up while she is asleep. The plot Tiger’ Hou Tsun. Es stellt sich heraus, dass der Fußgänger ‘Jade Face fails, as the “Beggar” has removed “Golden Swallow” from Tiger’ ist, ein Mitglied der Five-Tiger-Gruppe. her room. Als er erfährt, dass der Anführer der Truppe auf einem anderen Weg On the advice of the “Beggar,” “Golden Swallow” goes to zum Bezirksgericht gebracht wurde, nimmt ‘Jade Face Tiger’ Chang Tsu Yun Temple. “Red Face Tiger” identifies her as the Pu-ching gefangen und schickt ihn als Geisel in den Tsu Yun-Tempel. daring amazon after he is beaten while trying to flirt with In einem Brief an den Richter fordert er die Freilassung seines Anfüh- her. Again on the advice of the “Beggar,” she enters the rers innerhalb von fünf Tagen und droht, Chang Pu-ching zu töten und temple to continue her investigation. There she is trapped das Gericht in Brand zu setzen, falls die Forderungen nicht erfüllt by “Jade Face Tiger” who pricks her left shoulder with a würden. poison needle. She escapes to the woods and faints. Waking Es stellt sich heraus, dass der gefangen genommene Chang Pu-ching up in a thatched hut, she sees the “Beggar” brewing some der Sohn des Richters ist. Seine Schwester Chang Hsuan-yen, auch medicine for her. She suspects him of having laid the trap, ‘Golden Swallow’ genannt, ist eine ausgezeichnete Kämpferin. Als and in a rage, hurls a piece of firewood at him before Mann verkleidet, beschließt sie, die Gangstertruppe aufzusuchen und fainting again. ihren Bruder zu retten. She is tracked down by the gang, but the infuriated “Beggar” In einer Taverne trifft sie die wartenden Mitglieder der Bande. Es ist kills all of them. “Golden Swallow” admires his feat and 1 ein Leichtes für sie, sie in die Flucht zu schlagen. ‘Jade Face Tiger’ begs him to help her accomplish her mission; he agrees. kehrt in die Taverne zurück und befiehlt, ‘Golden Swallow’ im Schlaf zu The “Beggar” delivers the bodies to the Temple, but he is fesseln. Der Plan scheitert, weil ‘Beggar’, ein Bettler, ‘Golden Swallow’ arrested by “Jade Face Tiger.” He manages to escape from vorher aus ihrem Zimmer weggebracht hat. Auf seinen Rat hin begibt the fight and finds Liao Kung has come to help “Jade Face sich ‘Golden Swallow’ zum Tsu Yun Tempel, wo sie in die Gewalt von Tiger.” Liao Kung’s real name is Tiao Chin-tang. He and the ‘Jade Face Tiger’ gerät, der ihr ein Gift in die linke Schulter spritzt. Sie “Beggar” were once colleagues but parted because Liao kann in den Wald fliehen, wo sie ohnmächtig zusammenbricht. Sie Kung slew their leader. During the fight, Liao Kung saves erwacht in einer Strohhütte und sieht, dass der Bettler eine Medizin the “Beggar’s” life. Because of this, the “Beggar” decides für sie braut. Weil sie glaubt, dass er sie in eine Falle gelockt hat, not to antagonize the gang any more. He then tells “Jade bewirft sie ihn voller Wut mit einem Stück Feuerholz, bevor sie erneut Face Tiger” that the hostages can be on a hillside. ohnmächtig wird. As the hostages are being exchanged, the “Beggar” con- Als die ‘Five-Tiger-Bande’ sie aufspürt, tötet sie der zornige Bettler templates killing them all. In the thick of fighting, he kills alle. ‘Golden Swallow’ bewundert seine Tat und bittet ihn, ihr bei ihrer Liao Kung by accident. He weeps as his former benefactor Mission zu helfen. Er willigt ein. dies. Der Bettler bringt die toten Männer zum Tempel, wird jedoch von The warden is freed, and the gangsters are taken away in ‘Jade Face Tiger’ gefangen genommen. Es gelingt dem Bettler, sich zu a prison van. The warden bows to the “Beggar” in acknow- befreien, und er findet heraus, dass Liao Kung ‘Jade Face Tiger’ zu ledgement of his help. He smiles and walks away. Hilfe gekommen ist. Liao Kungs wahrer Name ist Tiao Chin-tang. Er und der Bettler waren früher einmal Partner, hatten sich jedoch ge- About the film trennt, weil Liao Kung ihren gemeinsamen Anführer ermordet hatte. Long before Crouching Tiger, Hidden Dragon wowed the Während des Kampfes rettet Liao Kung das Leben des Bettlers. Dar- western world, COME DRINK WITH ME set an entirely new aufhin beschließt dieser, die Bande nicht weiter zu provozieren. Er standard for martial arts movies in the Far East. Director benachrichtigt ‘Jade Face Tiger’ darüber, dass die Geiseln an einem King Hu (a.k.a. Hu King-chuan) not only broke new ground Abhang ausgetauscht werden können. Bei der Übergabe der Geiseln but set the groundwork for all the action films that fol- überlegt der Bettler einen Moment, alle zu töten. Im Durcheinander lowed, including Crouching Tiger. The attention-getters of des Kampfes tötet er versehentlich Liao Kung. Er weint, als sein COME DRINK WITH ME are the ingeniously staged action Wohltäter stirbt. scenes and a cast of characters that looks as cool today as Chang Pu-ching wird befreit, und die Ganoven werden in Gefängnis- when the film burst upon the cinema scene in 1966. There wagen weggefahren. Aus Dankbarkeit für die Hilfe des Bettlers ver- is even a Crouching Tiger connection, for “Golden Swallow” beugt Chang Pu-ching sich vor ihm. Lächelnd geht dieser daraufhin is played by none other than Zhang Ziyi’s evil old nanny, davon. Cheng Pei-pei. In COME DRINK WITH ME, Pei-pei is any- thing but old and evil, a twenty-year-old beauty on the Über den Film verge of one of the most spectacular careers in Hong Kong Lange bevor Crouching Tiger, Hidden Dragon die westliche Welt begei- martial arts history. sterte, setzte COME DRINK WITH ME völlig neue Standards für alle Martial-Arts-Filme im Fernen Osten. Regisseur King Hu erschloss mit Biofilmography seinem Film nicht nur neue Gebiete, sondern leistete auch die Vorar- In the 1960s, there was such an over-production of beit für alle Actionfilme, die folgen sollten, eingeschlossen Crouching Cantonese “wu xia” films (knight-errant movies with heroes Tiger. Alle Aufmerksamkeit konzentriert sich in COME DRINK WITH ME possessing fantastical, martial art powers), that the quality auf die raffiniert inszenierten Action-Szenen und die Darsteller, die of the productions began to suffer. Then one man came heute noch genauso großartig sind wie 1966. Es gibt sogar eine along and gave Hong Kong cinema a much needed face- direkte Verbindung zwischen Crouching Tiger und COME DRINK WITH lift. Appropriately, his name was King Hu (a.k.a Hu King- ME: ‘Golden Swallow’ wird von derselben Darstellerin gespielt, die in chuan or Hu Jinquan). A leader among filmmakers, with Crouching Tiger die alte, böse Kinderfrau von Zhang Ziyi spielt: Cheng his cinematic approach and the choreographical aesthetic Pei-pei. In COME DRINK WITH ME ist Cheng Pei-pei aber keineswegs of his fight scenes, Hu changed the direction of swordsman alt und böse, sondern eine zwanzigjährige Schönheit, die kurz davor films and set the standard for all martial arts stylised action ist, eine der spektakulärsten Karrieren in der Geschichte des Martial- movies to come. And it all started at Shaw Brothers.
Recommended publications
  • Episode 289 – Talking Sammo Hung | Whistlekickmartialartsradio.Com
    Episode 289 – Talking Sammo Hung | whistlekickMartialArtsRadio.com Jeremy Lesniak: Hey there, thanks for tuning in. Welcome, this is whistlekick martial arts radio and today were going to talk all about the man that I believe is the most underrated martial arts actor of today, possibly of all time, Sammo Hung. If you're new to the show you may not know my voice I'm Jeremy Lesniak, I'm the founder of whistlekick we make apparel and sparring gear and training aids and we produce things like this show. I wanna thank you for stopping by, if you want to check out the show notes for this or any of the other episodes we've done, you can find those over at whistlekickmartialartsradio.com. You find our products at whistlekick.com or on Amazon or maybe if you're one of the lucky ones, at your martial arts school because we do offer wholesale accounts. Thank you to everyone who has supported us through purchases and even if you aren’t wearing a whistlekick shirt or something like that right now, thank you for taking the time out of your day to listen to this episode. As I said, here on today's episode, were talking about one of the most respected martial arts actor still working today, a man who has been active in the film industry for almost 60 years. None other the Sammo Hung. Also known as Hung Kam Bow i'll admit my pronunciation is not always the best I'm doing what I can. Hung originates from Hong Kong where he is known not only as an actor but also as an action choreographer, producer, and director.
    [Show full text]
  • 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.
    [Show full text]
  • The-Fate-Of-Lee-Khan Presskit.Pdf
    presents NEW 2K DIGITAL RESTORATION Hong Kong & Taiwan / 1973 / Action / Mandarin with English Subtitles 106 minutes / 2.35:1 / 5.1 Surround Sound U.S. THEATRICAL PREMIERE Opening April 5th in New York at Metrograph Press Contacts: Michael Krause | Foundry Communications | (212) 586-7967 | [email protected] Michael Lieberman | Metrograph | (212) 660-0312 | [email protected] Film Movement Booking Contacts: Clemence Taillandier | Theatrical | (201) 736-0261 | [email protected] Maxwell Wolkin | Festivals & Non-Theatrical | (212) 941-7744 x211 | [email protected] SYNOPSIS In his follow-up to the critically acclaimed A TOUCH OF ZEN, trailblazing filmmaker King Hu brings together an all-star female cast, including Hong Kong cinema stalwart Li Li-hua and Angela “Lady Kung Fu” Mao, in this lively martial arts adventure. When Lee Khan, a powerful general of the oppressive Yuan Dynasty, procures the battle map of the Chinese rebel army, resistance fighters, aided by an undercover girl-gang, strive to corner him at an inn. Featuring stunning action sequences choreographed by Jackie Chan’s “Kung Fu elder brother” Sammo Hung and a generous mix of intrigue and humor, THE FATE OF LEE KHAN is a legendary wuxia masterpiece. SHORT SYNOPSIS Lee Khan, a powerful general of the oppressive Yuan Dynasty, procures the battle map of the Chinese rebel army. Resistance fighters, aided by an undercover girl-gang, strive to corner him at an inn. LOGLINE King Hu's legendary wuxia masterpiece, starring Li Li-hua, Angela Mao and Hsu Feng. SELECT PRESS “The Fate of Lee Khan is to the Chinese martial arts movie what Once Upon a Time in the West is to the Italian Western: a brilliant anthology of its genre's theme and styles, yielding an exhilaratingly original vision.” –Time Out “The Fate of Lee Khan is a masterclass in getting the maximum from every aspect of production.
    [Show full text]
  • Legend of the Mountain
    LEGEND OF THE MOUNTAIN A film by King Hu 1979 / Taiwan and Hong Kong / 184 min. / In Mandarin with English subtitles Press materials: www.kinolorber.com Distributor Contact: Kino Lorber 333 W. 39th Street New York, NY 10018 (212) 629-6880 Jonathan Hertzberg, [email protected] Publicity Contacts: Rodrigo Brandao, [email protected] Michael Lieberman, [email protected] 1 Synopsis A travelling scholar, intent on translating a Buddhist sutra, loses his way in the mountains. Time and space collapse around him as he continues his journey, encountering ghostly visitations amid a haunting fantasia of color, light and landscape. King Hu rose to prominence in the 1960s and 70s as a superb director of wuxia, a subgenre of samurai film dealing with swords, sorcery and chivalrous heroes. Legend of the Mountain comes from the director’s later period, when his artistry, specifically his landscape compositions, was at the height of its powers. The film’s astonishing nature shots, shot on location in the Korean countryside, are reminiscent of Terrence Malick, while the reflective blend of myth and history is all Hu’s own. 2 About the Restoration The complete version of Legend of the Mountain has been restored in 4K from a first generation, vintage inter-positive and from the sound negative preserved at the Taiwan Film Institute. The original camera negative, re-edited into a shorter theatrical version, was not assessed as the best source because it was completely damaged by mold, and the coiled film strips of some reels were sticky and glued together due to the decay of the support film base.
    [Show full text]
  • Golden Swallow, King Hu, and the Cold War = 《大醉俠》 : 金燕子、胡金銓與冷戰時代
    Journal of Modern Literature in Chinese 現代中文文學學報 Volume 8 Issue 1 Vol. 8.1 八卷一期 (2007) Article 10 1-1-2007 Come drink with me : If you dare : Golden Swallow, King Hu, and the Cold War = 《大醉俠》 : 金燕子、胡金銓與冷戰時代 Gina MARCHETTI University of Hong Kong Follow this and additional works at: https://commons.ln.edu.hk/jmlc Recommended Citation Marchetti, G. (2007). Come drink with me: If you dare: Golden Swallow, King Hu, and the Cold War = 《大 醉俠》 : 金燕子、胡金銓與冷戰時代. Journal of Modern Literature in Chinese, 8(1), 133-163. This Article is brought to you for free and open access by the Centre for Humanities Research 人文學科研究中心 at Digital Commons @ Lingnan University. It has been accepted for inclusion in Journal of Modern Literature in Chinese 現代中文文學學報 by an authorized editor of Digital Commons @ Lingnan University. Gina MARCHETTI 馬蘭清 Department of Comparative Literature, University of Hong Kong 香港大學比較文學系 COME DRINK WITH M E ------ If You Dare: Golden Swallow, King Hu, and the Cold War 《大醉俠》—— 金燕子、胡金銓與冷戰時代 133 A revolution is not a dinner party, or writing an essay, or painting a picture, or doing embroidery; it cannot be so refined, so leisurely and gentle, so temperate, kind, courteous, restrained and magnanimous. A revolution is an insurrection, an act of violence by which one class overthrows another.1 Mao Tse-tung, 1927 While the Chinese title f〇「Dazu/x/’a (大醉俠 Come D nM Me, 1 966) 「efe「s to its male lead, Drunken Cat (丫ueh Hua 岳華 )as the “ big drunk hero,” 1 1 "Report on an Investigation of the Peasant Movement in Hunan" (March 1927), Selected Works o f Mao Tsu- tung, Vol.
    [Show full text]
  • Download a Touch of Zen Press Kit (PDF)
    presents In director King Hu’s grandest work, the noblewoman Yang (Hsu Feng), a fugitive hiding in a small village, must escape into the wilderness with a shy scholar and two aides. There, the quartet face a massive group of fighters, and are joined by a band of Buddhist monks who are surprisingly skilled in the art of battle. Janus Films is proud to present the original, uncut version of this classic in a sparkling new 4K restoration. “ The visual style will set your eyes on fire.” —Time Out London “ Truly spectacular.” —A. H. Weiler, The New York Times © 1971 Union Film Co., Ltd. / © 2015 Taiwan Film Institute. All rights reserved. janusfilms.com/hu “ An amazing and unique director.” —Ang Lee Taiwan • 1971 • 180 minutes • Color • Monaural In Mandarin with English subtitles • 2.35:1 aspect ratio Screening format: 4K DCP CREDITS Director/Scriptwriter: King Hu Starring: Producers: Sha Jung-feng, Hsu Feng as Yang Huizhen Hsia-wu Liang Fang Shi Jun as Gu Shengzhai Cinematographer: Hua Huiying Bai Ying as General Shih Editors: King Hu, Wen-chaio Wang Chin-chen Music: Wu Dajiang Martial arts choreographers: Han Yingjie, Pan Yao-kun Booking Inquiries: Janus Films Press Contact: Ryan Werner [email protected] • 212-756-8761 [email protected] • 917-254-7653 WUXIA: A PRIMER Although in the West most often applied to film, the term wuxia—literally “martial [wu] hero [xia]”—in fact refers to a genre of Chinese fiction that is represented in every medium, from literature to opera to, of course, movies. Dating back to 300 BCE in its protean form, the wuxia narrative traditionally follows a hero from the lower class without official affiliation who pursues righteousness and/or revenge while adhering to a code of chivalrous behavior.
    [Show full text]
  • Kung-Fu Cowboy to Bronx B-Boys: Heroes and the Birth of Hip Hop
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 Kung-Fu Cowboys to Bronx B-Boys: Heroes and the Birth of Hip Hop Culture Cutler Edwards Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES KUNG-FU COWBOYS TO BRONX B-BOYS: HEROES AND THE BIRTH OF HIP HOP CULTURE By CUTLER EDWARDS A Thesis submitted to the Department of History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Fall Semester, 2005 Copyright © 2005 Cutler Edwards All Rights Reserved The members of the Committee approve the Thesis of Cutler Edwards, defended on October 19, 2005. ______________________ Neil Jumonville Professor Directing Thesis ______________________ Maxine Jones Committee Member ______________________ Matt D. Childs Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii I give this to many people: to my parents, who alternately encouraged, cajoled, and coerced me at the appropriate times in my life—good timing, folks. To my brothers by birth, who are stuck with me, and my brothers and sisters by choice, who stick with me anyway—you are true patriots. Thanks for the late nights, open minds, arguments, ridicule, jests, jibes, and tunes—the turntables might wobble, but they don’t fall down. I could not hope for a better crew. R.I.P. to O.D.B., Jam Master Jay, Scott LaRock, Buffy, Cowboy, Bruce Lee, and the rest of my fallen heroes.
    [Show full text]
  • Hong Kong Martial Arts Films
    GENDER, IDENTITY AND INFLUENCE: HONG KONG MARTIAL ARTS FILMS Gilbert Gerard Castillo, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS December 2002 Approved: Donald E. Staples, Major Professor Harry Benshoff, Committee Member Harold Tanner, Committee Member Ben Levin, Graduate Coordinator of the Department of Radio, TV and Film Alan B. Albarran, Chair of the Department of Radio, TV and Film C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Castillo, Gilbert Gerard, Gender, Identity, and Influence: Hong Kong Martial Arts Films. Master of Arts (Radio, Television and Film), December 2002, 78 pp., references, 64 titles. This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through the highlighting of gender issues. ACKNOWLEDGEMENTS First of all, I would like to thank the members of my committee all of whom gave me valuable suggestions and insights. I would also like to extend a special thank you to Dr. Staples who never failed to give me encouragement and always made me feel like a valuable member of our academic community.
    [Show full text]
  • Historicizing Martial Arts Cinema in Postcolonial Hong Kong: the Ip Man Narratives
    IAFOR Journal of Cultural Studies Volume 4 – Issue 2 – Autumn 2019 Historicizing Martial Arts Cinema in Postcolonial Hong Kong: The Ip Man Narratives Jing Yang, Guangdong University of Foreign Studies, China Abstract: The surge of Hong Kong martial arts films in the new millennium transformed the classic genre with a keen consciousness of history. Based loosely on the life experiences of the Cantonese master Ip Man (1893–1972), Ip Man (Yip, 2008) and The Grandmaster (Wong, 2013) utilize the genre to examine the dynamics between Hong Kong and mainland China by integrating the personal with the national. Against the shifting industrial and cultural orientations of Hong Kong cinema and society, the paper argues that the multifarious discourses in both films exemplify the effort to construct a post-colonial identity in negotiation with mainland China. Keywords: Hong Kong martial arts cinema, history, national discourse, postcolonial identity 59 IAFOR Journal of Cultural Studies Volume 4 – Issue 2 – Autumn 2019 Introduction The martial arts trainer of Bruce Lee, Ip Man (1893–1972), has become a recurrent subject matter of Hong Kong cinema more than a decade after China’s resumption of sovereignty over the territory. In a string of Ip Man films released from 2008 to 2015 (Ip Man [Yip, 2010, 2015], The Legend is Born: Ip Man [Yau, 2010], Ip Man: The Final Fight [Yau, 2013] and a 50- episode TV drama Ip Man [Fan, 2013]), Wilson Yip’s Ip Man (2008) and Wong Kar-wai’s The Grandmaster (2013) recount the life experiences of the Cantonese master whose legacy is the global popularity of Wing Chun art.
    [Show full text]
  • Hong Kong Filmmakers Search: Run Run Shaw
    Run Run SHAW 邵逸夫(1907–2014.1.7) Producer, Executive Producer With the original name Shao Renleng and the alias Yifu, Shaw was born in Shanghai and was the sixth child to a family from Zhenhai, Ningbo, Zhejiang. His father Shaw Yuh-hsuen was involved in the pigment and dyeing business in Shanghai. When his eldest brother, Runje Shaw, founded Unique Film Productions in 1925, the young Run Run helped his brothers with the filming of The Pearl Pagoda (in two parts, 1926) and Monkey King Conquers the Leopard (1926) while still in secondary school. He was also in charge of overseas distribution and camera work. After graduating from secondary school, he joined his third eldest brother, Runme Shaw in Singapore. Together they developed an overseas distribution network, buying several amusement parks and theatres there. In 1930, the two brothers set up Shaw Brothers Ltd in Singapore. In 1931, he went to the US to purchase equipment for making sound films and helped Runje Shaw shoot the sound film, The White Gold Dragon (1933). In 1937, he married Lily Huang Meizhen, the daughter of a rich merchant in Singapore (Huang died in Los Angeles on 24 October 1987). They had two sons and two daughters. In 1957, he came to Hong Kong and re-organised the family’s film production business here. He bought an 800,000 square foot site at Clearwater Bay with HK$320,000 from Runde Shaw, his second eldest brother, and built the Shaw Studio. In 1958, Shaw Brothers (Hong Kong) Ltd was established for film productions.
    [Show full text]
  • Kung Fu Cultural Revolution and Japanese Imperialism
    CHAPTER ONE Kung Fu Cultural Revolution and Japanese Imperialism We have no nation without a fight against those who oppress us. We have no culture but a culture born out of our resistance to oppression. —Linda Harrison With the power of hindsight, the proclamation of a popular cultural revolu- tion, which swept the world from Hong Kong, can be traced back to Bruce Lee’s statement on gung fu (Cantonese spelling of kung fu) made in 1965 when the term was virtually unknown to the rest of the world. A few years prior to the official outbreak of the revolution in Hong Kong, Lee happened to be interviewed by the Twentieth Century Fox studio as part of the screen test for an actor skilled in the “Oriental” martial arts. At this occasion, Lee in effect unleashed the power of ancient Chinese martial arts by removing the veil of hitherto kept secrecy: Well, gung fu is originated in China. It is the ancestor of karate and jujitsu. It’s more of a complete system and it’s more fluid. ...(What’s the difference between a gung fu punch and a karate punch?) A karate punch is like an iron bar—“whack!” A gung fu punch is like an iron chain with an iron ball attached to the end, and it go[es] “wang!” and it hurt[s] inside.1 This screen test, which ultimately led Lee to his debut in Hollywood as Kato in The Green Hornet (1966–1967), was a by-product of his first appearance at a U.S.
    [Show full text]
  • The Cinema of Hong Kong History, Arts, Identity
    THE CINEMA OF HONG KONG HISTORY, ARTS, IDENTITY Edited by POSHEK FU, University of Illinois, Urbana-Champaign DAVID DESSER, University of Illinois, Urbana-Champaign PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de AlarcoÂn 13, 28014 Madrid, Spain q Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United States of America Typefaces Times Roman 10.25/12.5 pt. and Optima System DeskTopPro/UX [BV] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data The cinema of Hong Kong : history, arts, identity / edited by Poshek Fu, David Desser. p. cm. Includes index. ISBN 0-521-77235-4 1. Motion pictures ± China ± Hong Kong. I. Fu, Poshek, 1955± II. Desser, David. PN1993.5.H6 C56 2000 791.43©095125 21±dc21 99-045702 ISBN 0 521 77235 4 hardback CONTENTS List of Contributors page vii Acknowledgments xi POSHEK FU AND DAVID DESSER Introduction 1 POSHEK FU AND DAVID DESSER Chronology of Hong Kong Cinema 13 DAVID DESSER AND POSHEK FU PART I. HISTORY 1. The Kung Fu Craze: Hong Kong Cinema's First American Reception 19 DAVID DESSER 2.
    [Show full text]