Tiger Style Kung Fu Movie
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Warriors As the Feminised Other
Warriors as the Feminised Other The study of male heroes in Chinese action cinema from 2000 to 2009 A thesis submitted in partial fulfilment of the requirements for the Degree of Doctor of Philosophy in Chinese Studies at the University of Canterbury by Yunxiang Chen University of Canterbury 2011 i Abstract ―Flowery boys‖ (花样少年) – when this phrase is applied to attractive young men it is now often considered as a compliment. This research sets out to study the feminisation phenomena in the representation of warriors in Chinese language films from Hong Kong, Taiwan and Mainland China made in the first decade of the new millennium (2000-2009), as these three regions are now often packaged together as a pan-unity of the Chinese cultural realm. The foci of this study are on the investigations of the warriors as the feminised Other from two aspects: their bodies as spectacles and the manifestation of feminine characteristics in the male warriors. This study aims to detect what lies underneath the beautiful masquerade of the warriors as the Other through comprehensive analyses of the representations of feminised warriors and comparison with their female counterparts. It aims to test the hypothesis that gender identities are inventory categories transformed by and with changing historical context. Simultaneously, it is a project to study how Chinese traditional values and postmodern metrosexual culture interacted to formulate Chinese contemporary masculinity. It is also a project to search for a cultural nationalism presented in these films with the examination of gender politics hidden in these feminisation phenomena. With Laura Mulvey‘s theory of the gaze as a starting point, this research reconsiders the power relationship between the viewing subject and the spectacle to study the possibility of multiple gaze as well as the power of spectacle. -
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. -
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. -
Representation of Females As Victims in Hong Kong Crime Films (2003-2015)
REPRESENTATION OF FEMALES AS VICTIMS IN HONG KONG CRIME FILMS (2003-2015) Perspectives from One Nite in Mongkok, Protégé and The Stool Pigeon TINGTING HU (胡婷婷) MA. Media, Loughborough University, UK, 2011 BA. Arts, Shanghai Theatre Academy, China, 2010 This thesis is submitted for the degree of Master of Research Department of Media, Music, Communication and Cultural Studies Faculty of Arts Macquarie University, Sydney December 25, 2015 MRES Thesis 2015 Tingting HU (ID: 43765858) TABLE OF CONTENTS ABSTRACT ........................................................................................................................ iii CERTIFICATE OF AUTHORSHIP/ORIGINALITY .................................................. iv ACKNOWLEDGMENTS .................................................................................................. v CHAPTER 1 INTRODUCTION ....................................................................................... 1 CHAPTER 2 FEMINISM AND HONG KONG CRIME FILMS ................................. 7 Feminism and Film Studies .................................................................................................. 7 The Western Context ......................................................................................................... 7 The Chinese Context ....................................................................................................... 11 Crime Films and Violence Against Women ....................................................................... 15 Crime Films ................................................................................................................... -
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. -
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. -
Hansard (English)
LEGISLATIVE COUNCIL ─ 26 January 2011 5291 OFFICIAL RECORD OF PROCEEDINGS Wednesday, 26 January 2011 The Council met at Eleven o'clock MEMBERS PRESENT: THE PRESIDENT THE HONOURABLE JASPER TSANG YOK-SING, G.B.S., J.P. THE HONOURABLE ALBERT HO CHUN-YAN IR DR THE HONOURABLE RAYMOND HO CHUNG-TAI, S.B.S., S.B.ST.J., J.P. THE HONOURABLE LEE CHEUK-YAN DR THE HONOURABLE DAVID LI KWOK-PO, G.B.M., G.B.S., J.P. THE HONOURABLE FRED LI WAH-MING, S.B.S., J.P. DR THE HONOURABLE MARGARET NG THE HONOURABLE JAMES TO KUN-SUN THE HONOURABLE CHEUNG MAN-KWONG THE HONOURABLE CHAN KAM-LAM, S.B.S., J.P. THE HONOURABLE MRS SOPHIE LEUNG LAU YAU-FUN, G.B.S., J.P. THE HONOURABLE LEUNG YIU-CHUNG DR THE HONOURABLE PHILIP WONG YU-HONG, G.B.S. 5292 LEGISLATIVE COUNCIL ─ 26 January 2011 THE HONOURABLE WONG YUNG-KAN, S.B.S., J.P. THE HONOURABLE LAU KONG-WAH, J.P. THE HONOURABLE LAU WONG-FAT, G.B.M., G.B.S., J.P. THE HONOURABLE MIRIAM LAU KIN-YEE, G.B.S., J.P. THE HONOURABLE EMILY LAU WAI-HING, J.P. THE HONOURABLE ANDREW CHENG KAR-FOO THE HONOURABLE TIMOTHY FOK TSUN-TING, G.B.S., J.P. THE HONOURABLE TAM YIU-CHUNG, G.B.S., J.P. THE HONOURABLE ABRAHAM SHEK LAI-HIM, S.B.S., J.P. THE HONOURABLE LI FUNG-YING, S.B.S., J.P. THE HONOURABLE TOMMY CHEUNG YU-YAN, S.B.S., J.P. THE HONOURABLE FREDERICK FUNG KIN-KEE, S.B.S., J.P. -
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. -
“China Factor” in Contemporary Hong Kong Genre Cinema
Concentric: Literary and Cultural Studies 46.1 March 2020: 11-37 DOI: 10.6240/concentric.lit.202003_46(1).0002 Re-Negotiations of the “China Factor” in Contemporary Hong Kong Genre Cinema Ting-Ying Lin Department of Information and Communication Tamkang University, Taiwan Abstract Given the long-existing and multifaceted negotiations of the “China factor” in Hong Kong film history, this article centers on the political function of genre films by exploring how contemporary Hong Kong filmmakers utilize filmmaking as a flexible strategy to re-negotiate and reflect on the China factor concerning current post-handover political dynamics. By focusing on several recent Hong Kong genre films as case studies, it examines how the China factor is negotiated in Vulgaria (低俗喜劇 Disu xiju, 2012) and The Midnight After (那夜凌晨,我坐上了旺角開往大埔的紅 VAN Naye lingchen, wo zuoshang le Wangjiao kaiwang Dapu de hong van, 2014), considering the politics of languages alongside the imaginary of the disappearance of Hong Kong’s local cultures in the post-handover era. It also highlights two post-Umbrella- Revolution films, Trivisa ( 樹大招風 Shuda zhaofeng, 2016) and The Mobfathers (選老頂 Xuan lao ding, 2016), to explore how the China factor is negotiated in light of the collective anxieties of Hongkongers regarding the handover and controversies in the current electoral system of Hong Kong. By doing so, this article argues that the re-negotiations of the China factor in contemporary Hong Kong genre cinema have become more and more politically reflexive given the increasingly severe political interference of the Beijing sovereignty that has violated the autonomy of Hong Kong, while forming a discourse of resistance of Hongkongers against possible neo- colonialism from the Chinese authorities in the postcolonial city. -
Music from the 1990S to the Present
j:,/ � • .. ….......:._. ‘. • '1- ;V . jn/w Tnn • ft ¾( ! \ ..' � •'. I . I .广, I n . .....Vv'Z …'.J I O > 3 . • • I •• . ^ • jr ,' ‘:'. ; , ''Jr ... Hong Kong Film Music from the 1990s to the Present CHENG LingYan A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Philosophy in Ethnomusicology © The Chinese University of Hong Kong June 2004 The Chinese University of Hong Kong holds the copyright of this thesis. Any person(s) intending to use a part or whole of the materials in the thesis in a proposed publication must seek copyright release from the Dean of the Graduate School. ^ST university~7^// ^XLIBRARy SYSTEM^W Abstract i Hong Kong Film Music from the 1990s to the Present Submitted by LingYan CHENG for the degree of Master of Philosophy in Ethnomusicology at The Chinese University of Hong Kong in June 2004 Abstract This thesis focuses on Hong Kong film music from the 1990s to the 2000s. In recent years, there has been much research and theory on western film music, especially the Hollywood film industry, by musicologists and scholars in film studies, popular music studies, and other fields. However, there has been little research on Hong Kong Film music, the system of which is different from that of western film music, and therefore I will apply basic film music concepts, but using the real situation of Hong Kong film music to formulate my own argument. The methodology used in this thesis will include the application of basic concepts used by scholars of film music, such as the functions of music in film, combined with fieldwork and analysis of films. -
65The 36Th Chamber
65 The 36th Chamber of Shaolin Shao lin sa liu fang Regie: Liu Chia-liang Land: Hong Kong 1978. Produktion: Shaw Brothers. Regie: Liu Chia- Note: THE 36TH CHAMBER OF SHAOLIN is being presented liang. Buch: I Kuang. Kamera: Huang Yueh-tai. Martial Arts Unter- as part of the series ‘Tribute to Shaw Brothers.’ Further weisung: Liu Chia-liang, Tang Wei-cheng. Ausstattung: Johnson Tsao, information can be found under # 61. The film is also Li Yen-hai. Make-up: Wu Hsu-ching. Schnitt: Chiang Hsing-long. Pro- known by the title ‘Master Killer.’ duktionsleitung: Huang Chia-hsi. Produzenten: Run Run Shaw, Mona The Cantonese title of the film is ‘Siu lam qui luk fong.’ Fong. Darsteller: Gordon Liu Chia-hui (Liu Yu-te), Wang Yu (Chung Mi-lu), Lo Synopsis Lieh (Tien Ta), Liu Chia-wing (Ying Tien-chung), Hsu Shao-chiang (Lu Anti-Ching patriots, under the guidance of Ho Kuang-han, Ah-tsai), Yu Yang (Hung Hsi-kuan), Frankie Wie (Ho Kuang-han), Hua have secretly set up their base in Canton under the guise of Lun (Chang Hsiang-yung), Chen Szu-chia (Chen Yen-ping), Yuan Hsiao- being school masters. Liu Yu-te (Gordon Liu Chia-hui), one tieng (Meister der ‘Kammer der Fäuste’), Chiang Han (älterer Mönch), of Ho’s pupils, has been inspired by his teacher’s patriotism, Chiang Nan (Meister der ‘Kammer der Augen’), Chan Shen (Meister and he is determined to join the anti-Ching ranks. Liu works der ‘Kammer der Handgelenke’). as an espionage courier for his fellow countrymen until the Format: 35mm, Cinemascope, Farbe. -
NETFLIX – CATALOGO USA 20 Dicembre 2015 1. 009-1: the End Of
NETFLIX – CATALOGO USA 20 dicembre 2015 1. 009-1: The End of the Beginning (2013) , 85 imdb 2. 1,000 Times Good Night (2013) , 117 imdb 3. 1000 to 1: The Cory Weissman Story (2014) , 98 imdbAvailable in HD on your TV 4. 1001 Grams (2014) , 90 imdb 5. 100 Bloody Acres (2012) , 1hr 30m imdbAvailable in HD on your TV 6. 10.0 Earthquake (2014) , 87 imdb 7. 100 Ghost Street: Richard Speck (2012) , 1hr 23m imdbAvailable in HD on your TV 8. 100, The - Season 1 (2014) 4.3, 1 Season imdbClosed Captions: [ Available in HD on your TV 9. 100, The - Season 2 (2014) , 41 imdbAvailable in HD on your TV 10. 101 Dalmatians (1996) 3.6, 1hr 42m imdbClosed Captions: [ 11. 10 Questions for the Dalai Lama (2006) 3.9, 1hr 27m imdbClosed Captions: [ 12. 10 Rules for Sleeping Around (2013) , 1hr 34m imdbAvailable in HD on your TV 13. 11 Blocks (2015) , 78 imdb 14. 12/12/12 (2012) 2.4, 1hr 25m imdbClosed Captions: [ Available in HD on your TV 15. 12 Dates of Christmas (2011) 3.8, 1hr 26m imdbClosed Captions: [ Available in HD on your TV 16. 12 Horas 2 Minutos (2012) , 70 imdb 17. 12 Segundos (2013) , 85 imdb 18. 13 Assassins (2010) , 2hr 5m imdbAvailable in HD on your TV 19. 13 Going on 30 (2004) 3.5, 1hr 37m imdbClosed Captions: [ Available in HD on your TV 20. 13 Sins (2014) 3.6, 1hr 32m imdbClosed Captions: [ Available in HD on your TV 21. 14 Blades (2010) , 113 imdbAvailable in HD on your TV 22.