DOCSLIB.ORG

THE KARATE KID Blouse, Shoes, and a Skirt That Would Not Bleed in Rain Or Any Other Kind of Weather

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE KARATE KID Blouse, Shoes, and a Skirt That Would Not Bleed in Rain Or Any Other Kind of Weather \ r{ BASEB.ALL IN APN.IL 1 onto a chair to reach the top shelf in the hall closet. She 1 wondered why she hadn't done it earlier. She reached be- hind a stack of towels and pushed her chubby hand into the cigar box where she kept her secret stash of money. "I've been saving a little every. month," said Mrs. Moreno. "For you, m'ija," Her mother held up five twen- ties, a blossom of green that smelled sweerer than flowers on that Saturday. They drove to Macy's and bought a THE KARATE KID blouse, shoes, and a skirt that would not bleed in rain or any other kind of weather. *:. l {' ,l 1 l I I t all started when Gilbert's older cousin Raymundo j i brought over The Karatre Kid. on video. Never before had l a message been so clear, never had Gilbert seen his life on \ TV. As he sat the dark a box CrilckerJacks in his I in with of I I lap, he knew that be, Gilbe*.Sanchez, a fifth-grader atJohn T l Burroughs Elementary, was the Kamte Kid. Like the kid on 'l the screen, he was pushed around by bullics. F{e too was a I polite kid who did his homework and kept to himself. And, l like the kid in the movie, Gilbert wanted to be strong l enough to handle anyone who tried to rness with him. Inspired, Gilbert and Raymundo kicked and chopped I ,{ irnaginary'opponents into submission as they walked to the /1 7-Eleven for a $lurpee. I 68 tI 69 BASEBALL IN APRIL The Karate Kid - "The ninjas are after us," Gilbert whispered in an shouted at the Fleat, who cut in closer ro rhe front of the alley. line. Raymundo came up to Gilbert. "So \We're whatl They can't mess with us. cousins. If "Why did you do that? You know he's a dirty fighter." they mess with you, they mess with me. If they mess wirh " 'Cause," Gilbert said with afaruway look on his face. me, they mess with you." He was busy picturing himself getting beat up by the Heat. \We're "That's right. bad." Gilbert chopped a ninja in "You're going to get it," Raymundo warned. "Why the neck. "'fake that. And that! And give some to your did you talk so big, menso?" brother." "Don't worry about it," Gilbert said as he left the line They climbed on the hood of a wrecked car and stood in a daze. He wasn't hungry anymore; he was gorged on storklike on one leg, just like in the movie. But instead of fear. \7ould it hurt much to get smacked in the face lots of crashing sea for a backdrop, there was a dilapidated barrio times? he wondered. Would he have enough blood left in of ramshackle houses and dusty cars. his body to walk to the principal's office7 Gilbert's courage carried over to the next day. At Raymundo sat down next to him. He was older than school, Pete the Heat cut in front of Gilbert while he was Gilbert and could beat up the Heat, but he knew he in line for lunch. Gilbert looked at him and said, "Hey, the shouldn't get involved. It was Gilbert's fight. line starts back there." "Remember," Raymundo advised, "Chop and kick. Pete the Heat, a not-so-bright fourth-grader, was a Look tough, too." tough playground fighter who could thump with the big They met on the playground. Kids closed in to see the kids. fight. Out of the corner of his eye, Gilbert saw Patricia, the "What did you say?" asked the Heat. His fists were girl he liked to think was his girlfriend, walking toward doubled up and trembling like small animals. He stuck his them. Oh no, he thought to himself, she's going to see me face into Gilbert's face. get beat up. He wished now that he had let the Heat cut "i said I'm not letting you cut in front of me. Get in in line. back! " The Heat said, "\7hat about it, creep! You still think "No, you watch it! " you're bad?" "I'm not telling you again!" Gilbert doubled his fists "Yeah," Gilbert growled. He tried to take Ray- and leaned his body into the Heat. He was surprised by his mundo's advice and sound tough, but his mind had melted own aggressiveness. into a puddle of misfiring cells. But he wasn't so far gone "I'll meet you on the playground," the Heat said, jab- that he couldn't remember to stand like a stork and flap his bing a finger into Gilbert's chest. arms, "Any place, any time," Gilbert, to his great surprise, 'Just 'cause you seen that Karate Kid. you think you're 70 71 r-t BASEBALL IN APRIL The Karate Kid bad, huhT You ain't bad," rhe Heat taunted. Some of the one sounded familiar, but it was in north Fresno, far from older kids encouraged the Heat ro ger on with it. his home. It would take him forever to bicycle up there. Again Gilbert tried to sound tough. "Come and get Finally he decided to call the Shotokan school that me. If you think you're-" was around the corner from his house. He got a recorded mes- Gilbert never frnished his sentence. The Heat caught sage that gave the hours, which were from 3:3o in the him with a roundhouse punch to the jaw, sending Gilbert afternoon to 7:oo p.u. Gilbert decided to practice standing to the ground. The Heat jumped on Gilbert and smacked like a stork until the studio opened. By 3:3o he was ex- him a few more times before Raymundo pulled him off. hausted and bored, but he still hopped on his bike and rode "That's enough, Heat. Leave him alone." over to the studio. The instrucror, to Gilbert's surprise, was Gilbert didn't bother ro move. A few kids taunted him, Mexican, not Japanese like the guy in the movie. called him "sissy," "pushover," and "wimp," but Gilbert The instructor flipped the sign in the window from stayed on the ground with his eyes closed, waiting for all Closed to Open and looked at Gilbert. "H"y, kid, of them to go what's away. up?" Finally, he opened an eye and, seeing rhar everyone, He called me "kid," Gilbert thought. I wonder how he including Raymundo, had disappeared, rose one up on knew. Do I look like the boy in the movie2 elbow. How come it didn't work? he asked himself. I stood "You wanna take lessons?" like a stork, just like in the movie. "Yeah." Even though it was a school night, Gilbert convinced "You have ro be real serious." his mother to let him borrow Raymundo's Karate Kid a "I will, I promise." second time. This time he watched intently, with no "It's twenty-five a monrh, and fifteen for the uniform. " Cracker Jacks to distract him. Yes, his school was like the The instructor let Gilbert in and watched him look around school in the movie, full of bullies. And yes, he had stood the dojo, which was small, dark, and smelly. It held nothing like a stork and flapped his arms. But, unlike the kid in the but some mirrors, a punching bag, and a shopping cart full movie, he was smacked to the ground. The rnissing compo- of what looked like boxing gloves. nent struck him like a hammer. He didn't have a teacher, "And there's an introductory price. Two months for and the kid in the movie did. So thar's it, he thought. I need the price of one. Stick around, kid, you look like you'll be a master to teach me karate. good." The instructor bowed at the edge of the wooden Gilbert stayed home the next day, feigning sickness, karate floor, and walked behind a curtain. After a few min- and looked through the Yellatu Pages for akarate school. It utes he came our wearing his uniform, and all that Gilbert was very confusing. There were so many styles: Shotokan, could think was He's got a black belt. Taekwon-Do, Kajukenbo, Bok-Fu, Kung Fu. That Jujitsu, Three noisy kids came in clutching grocery bags con- 72 /) BASEBALL IN APRIL Tbe Karate Kid taining their uniforms. The instrucror told them to be quiet, "Yeah, if you don't get beat up every day." but they ignored him. They took off their shoes but didn't "\X/hat do you mean?" his mother asked. bow the way the instructor bowed when he stepped onto "I got beat up yesterday by Pete the Heat. That's why the wooden floor. Gilbert didn't like them because of their I stayed home today." rudeness. They were not like the kid in the movie. "Why didn't you say anythingT" joined Four older kids came in and the other kids, who "\f,/hat could you do? You're at work, and I'm at were playing tag.Finally, the instructor clapped his hands school. You can't hold my hand at recess." \When together and shouted for them to line up. one kid "Don't get smart." "Aw, whined, man," the instructor glared Iiercely at him. "But it's true. You don't know what it's like." "Come on, let's show some respect," he growled.
Load more

Recommended publications
  • Film Rating Release Year a League of Their Own
    Film Rating Release Year A League Of Their Own PG 1992 Abominable PG 2019 Anchorman PG-13 2004 Apollo 11 G 2019 Apollo 13 PG 1995 Bee Movie PG 2007 Bernie The Dolphin G 2018 Bill And Ted's Excellent Adventure PG 1989 Bumblebee PG-13 2018 Casper PG 1995 Despicable Me PG 2010 Despicable Me 2 PG 2013 Despicable Me 3 PG 2017 Dirty Dancing PG-13 1987 Dora And The Lost City Of Gold PG 2019 Dr. Seuss' The Lorax PG 2012 Fast And Furious Presents Hobbs And Shaw PG-13 2019 Ferris Bueller's Day Off PG-13 1986 Field Of Dreams PG 1989 Five Feet Apart PG-13 2019 Footloose (1984) PG 1984 Forrest Gump PG-13 1994 Goosebumps PG 2015 Goosebumps 2 - Haunted Halloween PG 2018 Grease PG 1978 Groundhog Day PG 1993 Home (2015) PG 2015 Hook PG 1991 Hop PG 2011 How To Train Your Dragon PG 2010 How To Train Your Dragon The Hidden World PG 2019 How To Train Your Dragon 2 PG 2014 I Can Only Imagine PG 2018 Indiana Jones And The Last Crusade PG-13 1989 Instant Family PG-13 2018 Jurassic Park PG-13 1993 Knives Out (2019) PG-13 2019 Kung Fu Panda PG 2008 La La Land PG-13 2016 Labyrinth PG 1986 Madagascar PG 2005 Madagascar 3: Europe's Most Wanted PG 2012 Mamma Mia PG-13 2008 Mamma Mia Here We Go Again PG-13 2018 Matilda (1996) PG 1996 Megamind PG 2010 Men In Black (1997) PG-13 1997 Men In Black International PG-13 2019 Monster House PG 2006 Monsters Vs.
    [Show full text]
  • Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames Permalink https://escholarship.org/uc/item/5pg3z8fg Author Chien, Irene Y. Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Williams, Chair Professor Kristen Whissel Professor Greg Niemeyer Professor Abigail De Kosnik Spring 2015 Abstract Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien Doctor of Philosophy in Film and Media Designated Emphasis in New Media University of California, Berkeley Professor Linda Williams, Chair Programmed Moves examines the intertwined history and transnational circulation of two major videogame genres, martial arts fighting games and rhythm dancing games. Fighting and dancing games both emerge from Asia, and they both foreground the body. They strip down bodily movement into elemental actions like stepping, kicking, leaping, and tapping, and make these the form and content of the game. I argue that fighting and dancing games point to a key dynamic in videogame play: the programming of the body into the algorithmic logic of the game, a logic that increasingly organizes the informatic structure of everyday work and leisure in a globally interconnected information economy.
    [Show full text]
  • 1-22-21 Tribune/Sentinel.Indd
    6 TTribune/Sentinelribune/Sentinel EEntertainmentntertainment FFriday,riday, JJanuaryanuary 22,22, 22021021 ‘Cobra Kai’ never dies: Q&A with stars of Netfl ix series Left: “Cobra Kai” features original “The Karate Kid” stars Ralph Macchio, left, as Daniel LaRusso, and William Zabka as Johnny Lawrence. (Cr. Curtis Bonds Baker/Netfl ix © 2020) • Middle: Samantha LaRusso (Mary Mouser) turns to Daniel to rediscover her strength. • Right: John Kreese (Martin Kove) is back on “Cobra Kai.” (Courtesy of Netfl ix © 2020) BY JOSHUA MALONI issues of yesteryear. campaign to close down Johnny’s lyzed from the waist down. Sam is simple because, walking back onto GM/Managing Editor But now imagine this: In season chop-shop. The two old rivals become shell-shocked and scarred from her the set is usually what just brings it Just like the three tenets scrolled one, Daniel LaRusso (Ralph Mac- new enemies (sometimes frenemies), fi ght with Tory. Johnny has gone on all back all of a sudden. I can have across the dojo wall suggest, “Cobra chio) – sans the deceased Mr. Miyagi each trying to convince California a bender, and Daniel – at Amanda’s several months away from it, and Kai” struck fi rst, struck hard, and (Pat Morita) – has become a little youth theirs is the true karate. request – has ceased teaching karate. then I walk back into the backyard showed no mercy when it debuted on unlikable. No longer an underdog, Of course, in the season fi nale, Kreese, believing he has won, contin- of Mr. Miyagi’s house and it’s like, Netfl ix in 2020.
    [Show full text]
  • Cobra Kai: the Karate Kid Saga Continues: Johnny’S Story Isbn: 978-1-68405-635-4 23 22 21 20 1 2 3 4
    COBRA KAI: THE KARATE KID SAGA CONTINUES: JOHNNY’S STORY ISBN: 978-1-68405-635-4 23 22 21 20 1 2 3 4 COBRA KAI: THE KARATE KID SAGA CONTINUES–JOHNNY’S STORY. JUNE 2020. FIRST PRINTING. ™ & © 2020 Sony Pictures Television Inc. All Rights Reserved. The IDW logo Facebook: facebook.com/idwpublishing is registered in the U.S. Patent and Trademark Office. IDW Twitter: @idwpublishing Publishing, a division of Idea and Design Works, LLC. YouTube: youtube.com/idwpublishing Tumblr: tumblr.idwpublishing.com Editorial offices: 2765 Truxtun Road, San Diego, CA 92106. Instagram: instagram.com/idwpublishing Any similarities to persons living or dead are purely coincidental. With the exception of artwork used for review purposes, none Cover Artist of the contents of this publication may be reprinted without the Kagan McLeod permission of Idea and Design Works, LLC. Printed in Korea. Series Assistant Editors Megan Brown and Riley Farmer IDW Publishing does not read or accept unsolicited submissions of ideas, stories, or artwork. Series Editor Tom Waltz Originally published as COBRA KAI: THE KARATE KID SAGA CONTINUES issues #1–4. Collection Editors Alonzo Simon and Chris Ryall, President & Publisher/CCO Zac Boone Cara Morrison, Chief Financial Officer Matthew Ruzicka, Chief Accounting Officer Collection Designer David Hedgecock, Associate Publisher Christa Miesner John Barber, Editor-in-Chief Justin Eisinger, Editorial Director, Graphic Novels and Collections Based on the characters created by Robert Mark Kamen. Cobra Kai created for television by Scott Dunbier, Director, Special Projects Josh Heald & Jon Hurwitz & Hayden Schlossberg. Jerry Bennington, VP of New Product Development Lorelei Bunjes, VP of Technology & Information Services Jud Meyers, Sales Director Anna Morrow, Marketing Director Tara McCrillis, Director of Design & Production Mike Ford, Director of Operations Shauna Monteforte, Manufacturing Operations Director Rebekah Cahalin, General Manager Ted Adams and Robbie Robbins, IDW Founders .
    [Show full text]
  • The Karate Kid…And Managing Others
    The Karate Kid…and Managing Others While watching the 2010 release of The Karate Kid recently, I had an ‘aha’ moment… Fast forward 140 minutes, and I was left with the full-blown realisation that this film could teach managers a thing or two about working with their teams Of course, the film is not real life, and your work environment will no doubt be very different. Even so, there are some smart parallels with what ‘good’ looks like when managing others. In short, the film started me thinking about the Situational Leadership Model. About Situational Leadership Situational Leadership is a fantastically simple, workable, ‘how to’ for getting the best from others’ performance. Personally, I think ‘Leadership’ is a misnomer here and if Hersey and Blanchard had asked for my advice, then the model I’d be referencing would in fact be ‘Situational Management’… Anyway…the Model describes how managers, by flexing their style, should ‘give’ people what they can’t ‘find’ for themselves. Situational leadership isn’t something that you do to people, rather it’s what you do with people. Or in Blanchard’s words; ‘Everyone has a peak performance potential – you just need to know where they are coming from and meet them there’ You won’t necessarily be using the same approach for the same person every time. It depends entirely on the work ‘situation’ that an individual finds themselves in and how confident, willing and able they are, or feel that they are, in that situation. About The Karate Kid It’s a film about a handyman in China (Mr Han, played by Jackie Chan) who teaches a boy from Detroit (Dre Parker, played by Jaden Smith) the skills of Kung Fu to defend himself against a group of bullies.
    [Show full text]
  • The Good Movie Club List
    THE GOOD MOVIE CLUB LIST - THE EARLIEST DAYS- (1902) Le Voyage dans la Lune (1903) The Great Train Robbery (1918) The Blue Bird (1919) Broken Blossoms - THE 1920'S- (1920) Das Cabinet des Dr. Caligari (1920) Nosferatu (1921) Orphans of the Storm (1923) Our Hospitality (1924) Sherlock Jr. (1924) The Thief of Bagdad (1925) Battleship Potemkin (1925) The Gold Rush (1926) Die Abenteuer des Prinzen Achmed (1927) The General (1927) Metropolis (1929) Pandora's Box - THE 1930'S- (1930) Morroco (1931) City Lights (1931) Tabu (1931) Dracula (1931) Frankenstein (1932) Love Me Tonight (1932) Shanghai Express (1932) Trouble in Paradise (1933) King Kong (1933) Footlight Parade (1933) She Done Him Wrong (1933) Duck Soup (1933) Queen Christina (1934) It Happened One Night (1934) The Thin Man (1935) Top Hat (1935) A Night at the Opera (1935) The Bride of Frankenstein (1936) Swing Time (1936) Modern Times (1936) Mr. Deeds Goes to Town (1937) Shall we Dance (1937) The Awful Truth (1938) Bringing Up Baby (1938) The Adventures of Robin Hood (1938) Holiday (1938) The Lady Vanishes (1939) Ninotchka (1939) Dorothy and the Wizard of Oz (1939) Gone with the Wind (1939) Stagecoach (1939) Wuthering Heights (1939) Only Angels have Wings (1939) Destry Rides Again - THE 1940'S- (1940) The Philadelphia Story (1940) The Shop Around the Corner (1940) The Grapes of Wrath (1940) His Girl Friday (1940) Rebecca (1940) The Mortal Storm (1941) The Maltese Falcon (1941) The Lady Eve (1941) Citizen Kane (1941) High Sierra (1941) Sullivan's Travels (1942) Casablanca (1942) Now,
    [Show full text]
  • A Letter to Daniel Larusso, the Karate Kid Ryan Shoemaker
    Booth Volume 6 | Issue 1 Article 4 1-24-2014 A Letter to Daniel Larusso, the Karate Kid Ryan Shoemaker Follow this and additional works at: http://digitalcommons.butler.edu/booth Recommended Citation Shoemaker, Ryan (2014) "A Letter to Daniel Larusso, the Karate Kid," Booth: Vol. 6: Iss. 1, Article 4. Available at: http://digitalcommons.butler.edu/booth/vol6/iss1/4 This Article is brought to you for free and open access by Digital Commons @ Butler University. It has been accepted for inclusion in Booth by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. A Letter to Daniel Larusso, the Karate Kid Abstract Dear Daniel, Good talking with you at the All-Valley Karate Championships. What a story you have! Inspiring. Seriously. The tus ff movies are made of. Consider me a big fan. I don’t know, maybe I saw something of myself in you, the lanky underdog trying to get his footing in that first match and then finding his stride, fighting, really, for his life and not just some trophy or title. Keywords fiction, karate, California Cover Page Footnote "A Letter to Daniel Larusso, the Karate Kid" was originally published at Booth. This article is available in Booth: http://digitalcommons.butler.edu/booth/vol6/iss1/4 Shoemaker: A Letter to Daniel Larusso, the Karate Kid ! ! ! ! ! ! ! ! ! ! ! ! ! January 24,! 2014! A Letter to Daniel Larusso, the Karate Kid ! by Ryan Shoemaker ! Dear Daniel, ! Good talking with you at the All-Valley Karate Championships. What a story you have! Inspiring. Seriously. The stuff movies are made of.
    [Show full text]
  • How China's Censorship and Influence Affect Films Worldwide
    October 28, 2015 Directed by Hollywood, Edited by China: How China’s Censorship and Influence Affect Films Worldwide Sean O’Connor, Research Fellow, Economics and Trade and Nicholas Armstrong, Esq., Research Fellow Disclaimer: This paper is the product of professional research performed by staff of the U.S.-China Economic and Security Review Commission, and was prepared at the request of the Commission to support its deliberations. Posting of the report to the Commission’s website is intended to promote greater public understanding of the issues addressed by the Commission in its ongoing assessment of U.S.- China economic relations and their implications for U.S. security, as mandated by Public Law 106-398 and Public Law 108-7. However, the public release of this document does not necessarily imply an endorsement by the Commission, any individual Commissioner, or the Commission’s other professional staff, of the views or conclusions expressed in this staff research report. Table of Contents Abstract ......................................................................................................................................................................3 Background ................................................................................................................................................................4 China’s Growing Film Market ...................................................................................................................................5 China’s Film Industry Development ......................................................................................................................6
    [Show full text]
  • 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.
    [Show full text]
  • Spiritual Values of Education on Karate
    ETUDE: Journal of Educational Research 2020 VOL. 1, NO. 1, 27-32 P-ISSN 2774-860X E-ISSN 2774-8618 Spiritual values of education on Karate Kid Yuliana Fatima Dayana1, Fachri Helmanto2 1STKIP Media Nusantara Citra, Jakarta, Indonesia; 2Universitas Djuanda, Bogor, Indonesia ABSTRACT Background: Knowing the movies is most likely a favorite activity, it can take apart in education. Education is one of the important things in our lives. Most adults think "Karate Kid" is inspiring a violation. It is shown many Kung Fu movements and fighting scenes. However, the process of characters in being someone that would be interesting to be analyzed. It is more like the teaching-learning process to get something of a student. Purpose: This study aims to analyze the characters and find out the educational value shown in this movie. In addition, research has focused on analyzing the spiritual values of education following two items of discussion namely value of giving and value of being. Design and methods: The method in this study uses a descriptive qualitative approach. Next, the analysis is done by watching the movie many times and then continued the analysis by collecting data from books and some Internet resources to find theories related to the topic to be discussed. The next step required to arrange the analysis is to prepare the material by selecting multiple events of the movie and classifying the events related to the analysis. Results: Based on the research finding, there are eight educational spiritual values found in The Karate Kid namely honesty, brave, peace, self-discipline, respect, love and affection, not selfishness, and also kind and friendly.
    [Show full text]
  • Paperforilawardadeline.Pdf (217.9Kb)
    Adeline 1 Stephanie Adeline, EID: sa45354 Dr. Charlotte Canning and Dr. Paul Bonin-Rodriguez UGS 303: Arts, Your Money, and the Nation (61605) 5 May 2016 The Rise of Asian American Cinema Abstract As Asian economies are emerging, Asian Americans, who were once seen as the stereotypical “other” race, are now seen as the successful model minority. This shift in perception towards anti-Asian racism is evident in Hollywood films. This paper examines the ways that Asian culture is increasingly depicted in Hollywood movies, and how the phenomenon is related to the geopolitical forces between the US and the Asian economies. An examination on the movie The Karate Kid (1984) and its 2010 remake shows that even though the two have similar story line, the 2010 remake portrays Asian culture in a more positive way compared to the 1984 movie. The different depictions of Asian culture between the 1984 movie and the remake corresponds to America’s changing perceptions towards Asia since post-World War II towards the 21st century. This change in portrayal of Asian culture is also related to the US-Asia international relations as well as the emergence of Asian economies. Through observing the shifts in anti-Asian racism and US-Asia relations, as well as comparing movies from the two era, this paper will show that there is a promising future for a less stereotypical depiction of Asian culture in Hollywood. While Hollywood’s main purpose is to entertain viewers, Hollywood films have the potential to show a nation’s view on certain issues. One issue that is reflected in Hollywood Adeline 2 films is racism towards Asian Americans.
    [Show full text]
  • Aspectos Educacionais Do Karate: Discutindo Suas Representações No Cinema1
    SEÇÃO: ARTIGOS Aspectos educacionais do karate: discutindo suas representações no cinema1 Rafael Cava Mori2 ORCID: 0000-0001-6301-2795 Gilmar Araújo de Oliveira3 ORCID: 0000-0002-7617-6235 Resumo O karate é uma luta originária de Okinawa, ilha ao sul do Japão. Historicamente, atravessou três períodos: a partir do século XVII, como bujutsu, técnica clandestina de luta; depois, como budo, quando foi convertido em luta tradicional japonesa, em fins do século XIX, propugnando valores educacionais e identitários; e finalmente, como esporte de luta, quando foi associado a performance motora e competitividade, no século XX. Ao considerar o papel do karate como veiculador de valores de um Japão idealizado – japonesidade –, este trabalho analisa representações cinematográficas dessa luta. A análise focou nos aspectos educativos retratados nos filmes, a série estadunidense The karate kid e o japonês Kuro obi, sendo conduzida conforme três categorias: a relação entre teoria e prática; ruídos e conflitos entre professor e aluno; e formação do aluno como futuro professor. Os resultados revelam que as obras criticam a esportivização do karate, enfatizando a representação de aspectos educacionais associados aos períodos do bujutsu e, principalmente, do budo. Também, colaboram para reafirmar e atualizar a japonesidade, ao tratar os princípios do budo e sua transmissão educacional de forma idealizada, sem aludir a seu caráter moderno. Ainda, os filmes apresentam divergências em relação à proposta contemporânea de uma pedagogia das lutas, fundamentada na ciência da motricidade humana. Por outro lado, as produções cinematográficas contribuem para a área educacional na medida em que possibilitam discussões a respeito dos processos formativos e seus percalços, retratados de forma original, recorrendo aos conceitos de yin/ yang relacionados aos princípios zen -budistas do budo.
    [Show full text]