The East Unleashed: Asian Invasion Heats up in America

Total Page:16

File Type:pdf, Size:1020Kb

The East Unleashed: Asian Invasion Heats up in America THE RETRIEVER WEEKLY OPINION April13, 1999 PAGE9 The East Unleashed: Asian Invasion Heats Up in America spotlight for America to see in The Joy Luck Remember The Transformers, Speed Eidos, Rare, Interplay or id don't make good Del-Kun Dave Chen Club, The Replacement Killers, Rush Hour, Racer, Robotech, Voltron? Know anything games, but if it hadn't been for the video game Lethal Weapon 4, The Corruptor and Jet Li's about the Masked Rider, Sailor Moon and craze generated by the Japanese landmark upcoming Black Mask. Dragonball Z shows on TV? Yup, all pretty companies then there would've been little You've seen Jackie Chan rumble in the True, you could say that not many of these much straight from Japan. Additionally, Sony, chance for Westerners to jump onto the band­ Bronx, Sammo Hung enforce martial law, and movies really pay any attention to what Asian Toshiba, JVC, Casio and Panasonic are all wagon and prove themselves to be any good. Jet Li as a totally lethal weapon. America life is like, but the increase of its culture and major Japanese manufacturers of electronic With groundbreaking titles such as Final loved these guys doing what they do, and influences in the US mainstream is testament consumer products that Americans can't seem Fantasy VIII from Square and Sony's Gran that's proof of why Asian recognition is grow­ to America's interest in the Orient. Besides, to survive without, further proving that Turismo 2 set to redefine video game stan­ ing as we speak and is ready to show America with action stars like Arnold, Sly and the other Asians should be recognized by Americans dards, one can imagine how soon it will be that we're more than just sushi, bamboo, rice guys getting old and the people growing tired for their importance in the culture and soci­ before the best game titles come from only and rocket scientists. oftheir antics, it's time to give America some­ ety. Japan and the Western competition is left in Even before the aforementioned, Asian thing new. What Asians have is what people Also, don't forget that in video-gaming the the dust. culture has been a great part of America - have been missing- old-fashioned ass-kick­ Japanese are almost always on the cutting­ When all is said and done, Asians and their in technology, foods, transportation and en­ ing in a way that'll blow your mind. Watch edge. With companies like Sega, Sony, culture are a force to be reckoned with and tertainment. The electronic consumer prod­ any old Jackie Chan, Sammo Hung, Yuen Capcom, Nintendo, Namco, Square, Konarni not to be taken lightly. You've seen it before, ucts we use, the eggrolls we order, the fuel­ Biao or Jet Li films and your jaw will just and SNK producing games that hold atten­ but now with it in your face, there's not much efficient cars we drive and the cartoons we drop, believe me. tion with superb graphics, fantastic gameplay else to do besides give acknowledgement to watched as kids have largely come from the Asians are not becoming popular in just - and innovative ideas, it's no wonder that some the fact that the Orient could and may very Eastern world. These have been around for a subject matter but also in film styles too­ of the best games come from the East. well b~ the next big thing in America. So long time, but not until recently has the cul­ with John Woo leading the way. Hard Tar­ Parappa the Rapper is a game featuring a think about how you might not have really ture been the subject of interest once again get, Face/Off and even The Matrix are per­ dog who wants to impresshis flower-girl­ noticed the obvious truth that Asian culture in the American mainstream. haps prime examples of how Hong Kong friend and to do so he must become a rapper. has been an integral part of society, how it Back in the 1970s, Bruce Lee, Kung Fu moviemaking is slowly but surely infiltrat­ Sounds weird, but garners loved it. Metal may have been taken for granted, and how it and samurai B-movies stormed the market ing Hollywood. In The Matrix, many of the Gear Solid, Final Fantasy VII, Legend qf will eventually become an important part of and captured America's attention. These special effects shots were quite likely inspired Zelda: Ocarina of Time, Virtua Fighter, America itself. films, while not the most excellent work by by Japanese animation or comic books­ Tekken, Street Fighter, and Samurai Shodown today's standards, were an introduction to another unique Asian thing that has been are quality games that people know and love Dave ·chen is a senior majoring in photog­ different aspects of Asian culture. And now, steadily flourishing in American culture in because of how good they are. raphy. He is the assistant photo editor ofThe the Oriental lifestyles are once again in the recent years. This is not to say that Electronic Arts, Retriever Weekly. Jason Klaarman, 20 Graphic Design "/ would fake a major in) Jocab Rath, 23 VPA (IMDAJ "Go on a one year drunken rampage." .
Recommended publications
  • 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.
    [Show full text]
  • Donnie Yen's Kung Fu Persona in Hypermedia
    Studies in Media and Communication Vol. 4, No. 2; December 2016 ISSN 2325-8071 E-ISSN 2325-808X Published by Redfame Publishing URL: http://smc.redfame.com Remediating the Star Body: Donnie Yen’s Kung Fu Persona in Hypermedia Dorothy Wai-sim Lau1 113/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong Correspondence: Dorothy Wai-sim Lau, 13/F, Hong Kong Baptist University Shek Mun Campus, 8 On Muk Street, Shek Mun, Shatin, Hong Kong. Received: September 18, 2016 Accepted: October 7, 2016 Online Published: October 24, 2016 doi:10.11114/smc.v4i2.1943 URL: http://dx.doi.org/10.11114/smc.v4i2.1943 Abstract Latest decades have witnessed the proliferation of digital media in Hong Kong action-based genre films, elevating the graphical display of screen action to new levels. While digital effects are tools to assist the action performance of non-kung fu actors, Dragon Tiger Gate (2006), a comic-turned movie, becomes a case-in-point that it applies digitality to Yen, a celebrated kung fu star who is famed by his genuine martial dexterity. In the framework of remediation, this essay will explore how the digital media intervene of the star construction of Donnie Yen. As Dragon Tiger Gate reveals, technological effects work to refashion and repurpose Yen’s persona by combining digital effects and the kung fu body. While the narrative of pain and injury reveals the attempt of visual immediacy, the hybridized bodily representation evokes awareness more to the act of representing kung fu than to the kung fu itself.
    [Show full text]
  • Written & Directed by and Starring Stephen Chow
    CJ7 Written & Directed by and Starring Stephen Chow East Coast Publicity West Coast Publicity Distributor IHOP Public Relations Block Korenbrot PR Sony Pictures Classics Jeff Hill Melody Korenbrot Carmelo Pirrone Jessica Uzzan Judy Chang Leila Guenancia 853 7th Ave, 3C 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10019 Los Angeles, CA 90036 New York, NY 10022 212-265-4373 tel 323-634-7001 tel 212-833-8833 tel 212-247-2948 fax 323-634-7030 fax 212-833-8844 fax 1 Short Synopsis: From Stephen Chow, the director and star of Kung Fu Hustle, comes CJ7, a new comedy featuring Chow’s trademark slapstick antics. Ti (Stephen Chow) is a poor father who works all day, everyday at a construction site to make sure his son Dicky Chow (Xu Jian) can attend an elite private school. Despite his father’s good intentions to give his son the opportunities he never had, Dicky, with his dirty and tattered clothes and none of the “cool” toys stands out from his schoolmates like a sore thumb. Ti can’t afford to buy Dicky any expensive toys and goes to the best place he knows to get new stuff for Dicky – the junk yard! While out “shopping” for a new toy for his son, Ti finds a mysterious orb and brings it home for Dicky to play with. To his surprise and disbelief, the orb reveals itself to Dicky as a bizarre “pet” with extraordinary powers. Armed with his “CJ7” Dicky seizes this chance to overcome his poor background and shabby clothes and impress his fellow schoolmates for the first time in his life.
    [Show full text]
  • 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.
    [Show full text]
  • 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]
  • Hong Kong Filmmakers Search: Sammo Hung
    Sammo HUNG 洪金寶(b. 1952.1.7) Director, Actor, Martial Arts Choreographer, Executive Producer A native of Ningbo, Zhejiang, Hung was born in Hong Kong. His grandfather, Hung Chung-ho was a director in the 1930s and 40s. Hung enrolled in Yu Zhanyuan’s Hong Kong-China Opera Institute to study Peking opera before he was ten. He was the captain of the school’s performing troupe ‘Seven Little Fortunes’. Under the screen name Chu Yuen-lung, Hung appeared in Education of Love (1961) and The Seven Little Valiant Fighters (1962). He began working as a stuntman in the late 1960s, and served as the martial arts choreographer for Shaw Brothers (Hong Kong) Ltd’s The Golden Sword (1969). After Golden Harvest (HK) Limited was established, Hung took part in Lo Wei, Huang Feng and Chung Chang-hwa’s features as both a martial arts choreographer and actor. He was also the martial arts choreographer of King Hu’s The Valiant Ones (1975). In 1977, he made his directorial debut The Iron-Fisted Monk for Golden Harvest. Its box-office catapulted Hung to stardom. In addition to his comedic genius, he won over audiences with his remarkable, fluid action despite his bulk size. The box-office success was followed by a series of action comedies, including Warriors Two (1978), Knockabout (1979) and The Prodigal Son (1981), all directed and played by Hung himself. In 1978, Hung set up Gar Bo Films with Karl Maka and Lau Kar-wing and produced features such as Dirty Tiger, Crazy Frog! (1978). In 1979, he founded Bo Ho Films Company Limited, a satellite company of Golden Harvest.
    [Show full text]
  • LAM Ching-Ying 林正英(1952.12.27–1997.11.8)
    LAM Ching-ying 林正英(1952.12.27–1997.11.8) Actor Born Lam Kan-bo, Lam was a native of Shanghai. Due to poverty, he could not afford formal schooling and had to drop out in Primary two. His parents later enrolled him to Fen Ju Hua’s Spring and Autumn Drama School in Hong Kong. He spent five years in the school, during which John Lone, Austin Wai and Stephen Tung Wai were also studying there. At 17, he began to work as a stuntman in films, doubling for many actresses including Cheng Pei-pei. Two years later, he tried his hand at action choreography. His impressive performance in Golden Harvest’s The Big Boss (1971) won Bruce Lee’s favour. Thereafter he would assist in the martial arts choreography of many of Bruce Lee films. After Sammo Hung directed his first film The Iron-Fisted Monk (1977), Lam joined the Hung’s Troupe and began to play supporting roles in his movies while also working as martial arts choreographer. Examples include Encounter of the Spooky Kind (1980), The Dead and the Deadly (1982) and Winners & Sinners (1983). He first won popular acclaim with his cross-dressing part of an opera diva in The Prodigal Son (1981). His later turn as a Taoist priest in Mr. Vampire (1985) finally put his name on the map. He went on to play the role as the vampire slayer in the ensuing sequels, which would turn him into an icon of the Hong Kong vampire film. Later, funded by Golden Harvest, Lam co-founded Diagonal Pictures Limited with Chua Lam and Nam Nai-choi.
    [Show full text]
  • The Prodigal Son Full Movie Free Download
    The Prodigal Son 1 / 4 2 / 4 Yuen biao è l'uomo. Penso che sia uno dei migliori attori di Hong Kong sia che si tratti di arti marziali o no, è semplicemente ridicolo che non sia mai stato nominato nella categoria dei migliori attori ai premi di Hong Kong. Ho visto questo film circa 30 volte adesso. È uno dei pochi film di kung-fu che posso guardare dall'inizio alla fine, come di solito vado direttamente ai combattimenti. Il kung-fu è brillante, molto veloce, molto realistico e molto preciso. Il combattimento finale è puro genio, veloce e furioso. Anche la lotta tra Frankie Chan e Lam Ching Ying è geniale, e le sequenze di allenamento ... questo film è semplicemente perfetto. Fotocamera brillante, editing fluido e ottima musica. Altre persone dovrebbero vedere questo film per vedere il genio puro di Sammo Hung, di Yuen Biao e del brillante Lam Ching Ying. Non ha tante lotte come gli altri vecchi film di kung-fu, ma credimi. 10/10 La maggior parte dei film di kung-fu non hanno storie e grandi scene di lotta o scene di lotta orribile e una storia solida. Non capita spesso di imbattersi in uno che ha una grande storia e alcune delle migliori scene di combattimento mai realizzate. The Prodigal Son è uno dei migliori film di Sammo Hung. L'uso di Wing Chun da parte di Lam Ching Ying è eccezionale. Ricorda molto i video di allenamento di Bruce Lee. Questo film presenta Wing Chun nella sua vera forma, diretta e in faccia.
    [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]
  • 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.
    [Show full text]
  • Martial Arts, Acting and Kung Fu Hero in Change
    EnterText 6.1 SABRINA YU Can a Wuxia Star Act? Martial Arts, Acting, and Critical Responses to Jet Li’s Once Upon A Time In China Introduction It has been commonplace in western critical discourse to state that action stars can’t act. This seems particularly true when it comes to trans-bordering Chinese action stars like Jet Li. Criticism of his acting skills in his English-language films can be easily picked up from the press: Without the fight scenes, though, this film (Romeo Must Die) would be a bust… ‘Jet is our special effect,’ says Silver, summing up his star’s appeal neatly.1 Li’s martial arts skills are as brilliant as his acting skills aren’t.2 The action is fun and ultra-violent, the story is satisfactorily ridiculous and the acting is non-existent.3 “Good martial artist with limited acting ability” seems to represent a popular view of Chinese martial arts stars and indeed this is how they are often used in Hollywood films. Nevertheless, such a view also reveals a deep-rooted bias, i.e. the martial arts star is someone who knows less about acting than s/he does about fighting. On the other hand, it reflects a dominant idea about film performance, by privileging facial Sabrina Yu: Can a Wuxia Star Act? 134 EnterText 6.1 expression/psychology over body movement/physicality. Can’t a martial arts star act? Are fighting and acting always two split, conflicting elements within a Chinese wuxia star’s performance? In this paper, I would like to re-examine this stereotypical western critical consensus in the light of the contrasting Hong Kong critical response to Jet Li’s Chinese work Once Upon A Time In China (Tsui Hark, Hong Kong, 1991) (OUATIC hereinafter).
    [Show full text]
  • 20 Movies 20 Years Ebook.Cdr
    20 MUST SEE MARTIAL ARTS MOVIES FROM THE LAST 20 YEARS THANK YOU FOR SUBSCRIBING AND DOWNLOADING THIS FREE E-BOOK! EVERY SINGLE PERSON INVOLVED MAKES THE MARTIAL ARTS ACTION MOVIE WEBSITE POSSIBLE... ...AND LOTS OF FUN! BEFORE WE GET STUCK INTO IT. In the last 4 years, I have watched and reviewed close to 500 Martial Arts films. I’ve got to say it’s a bit of an addiction but a fun one, and it’s been shared with a lot of people through Social Media channels like Facebook and Twitter, and I’ve noticed a strong pattern in the movies people love to see these days. On top of that, we’re seeing movies being released that seem to be climbing the ladder in terms of quality. For a while, martial arts movies were heading in a different direction and focusing less on the pure abilities of the actor and relying heavily on wire work. While there’s nothing wrong with that, I can safely say that most people I’ve networked with over the last few years don’t enjoy the weightless “floating” look that most of these movies produced. So most of what I write about these days focuses on the power of the individual martial artist, relying on themselves more than wires. Combined with the totality of the film making process, I’ve done my best to find the absolute most entertaining, action packed and well balanced martial arts films of recent times. So I produced this little Ebook for anyone whose looking to become immersed in the most action packed, adrenaline charged fight films from the last 20 years.
    [Show full text]