Bruce Lee 1 Bruce Lee
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Newsletter 04
Hong Kong Filmography, Volume Two The Hong Kong Filmography, Volume Two will be published soon, its birth a result of incessant labour and thorough research. Because the Filmography covers the years 1942 to 1949, the period thus covered includes the Japanese occupation of Hong Kong to the years of recovery after the war. The research undertook was extensive and particularly taxing since many of the films were considered lost while the existing textual and photographic materials open up more gaps than they close them. It was difficult to establish the records and determine the chronology of production and dates of release, to say the least. After nearly one year of research and study, we were finally able to put together the materials of over 430 films produced in the 40s. Then came the process of arranging the materials, filing them, checking the years and titles and to input them as computer data. The tasks of editing and proofreading were enormous. We are now reaching the completion stage and Volume Two is due for publication in July, thanks to the dedication and unstinting efforts of our research and editorial staff. The Hong Kong film industry was virtually non-existent during the Japanese occupation of Hong Kong (from December 1941 to August 1945), apart from the production of one Japanese propaganda feature, The Attack on Hong Kong, and a handful of documentaries. In the first year after the war, the film industry got down to business and production recovered. 1946 was the year which marked the resumption of film production. The films that were released between 1942 and 1945 were actually films produced before the Pacific War broke out. -
Bruce Lee Name in Chinese: 李小龙 [李小龍]
Name in English: Bruce Lee Name in Chinese: 李小龙 [李小龍] Name in Pinyin: Lǐ Xiǎolóng Gender: Male Birth Year: 1940-1973 Birth Place: San Francisco, California Philanthropy: Y Profession (s): Actor, martial artist, philosopher, instructor Education: B.A., Philosophy, 1963, University of Washington Award(s): 1958, Boxing Champion; 1997, #100 top movie star, Empire Magazine’s Top 100 Movie Stars of All Time; 1999, named one of the 100 most important people of the century, Time Magazine. Contribution(s): Bruce Lee was an American icon who popularized the martial arts film genre and sparked a continuing interest in Asian martial arts and Asian cultures in general across the world. He wrote several books on the philosophy of martial arts and founded the Jeet Kune Do style of martial arts. To this day, Bruce Lee is seen as the most influential martial artist of all time by many people. Bruce Lee was born in San Francisco in November 1940 while his parent’s Cantonese opera troupe was performing there. He was a quarter German through his maternal grandfather. His family returned to Hong Kong when he was three months old and they lived under Japanese occupation during World War II. As a child and teenager he appeared in twenty Hong Kong films. He returned to the US in 1959 at the age of 18 and after a brief stay in San Francisco left to complete his high school education in Seattle while working at Ruby Chow's restaurant as a waiter. After completing high school he went to study at the University of Washington in Seattle. -
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. -
Cultural Representation in Bruce Lee's the Way of the Dragon Min
Confronting Orientalism with Cinematic Art: Cultural Representation in Bruce Lee’s The Way of the Dragon Min-Hua Wu http://benz.nchu.edu.tw/~intergrams/intergrams/162/162-wu.pdf ISSN: 1683-4186 Abstract Taking Edward Said’s discourse on Orientalism as a point of departure, this paper attempts to explore how Bruce Lee confronts Orientalism with cinematic art. It analyzes one of Lee’s representative films, The Way of the Dragon, examining how the director manipulates traditional kung fu cameras to subvert stereotypical cultural representations. In this unique action film, he makes the best of Chinese kung fu while appealing to the art of Western filmmaking, where—as an actor and director— he strives to screen against and beyond occidental stereotypes. As a result, he transforms a Western mythology into an Asian heroic myth and tinges the theory and practice of his kung fu formation with a Gramscian hegemonic vein in a sophisticated manner. This study also discusses audience receptions of Lee’s cinematic representations based on Stuart Hall’s encoding-decoding model for cultural analysis. From Lee’s brand new perspective, the audience witnesses that an Oriental nobody dares to go so far as to stand up against Orientalism and manage to defy Western sweeping generalizations of the Orient. The film thus rewrites the stereotypical discourse that portrays the so- called Chinaman as affected and not effective. Presenting a firm Chinese subjectivity by means of kung fu fightings on the stage and in the limelight, Lee succeeds in asserting himself as an important international cinematic figure who in one sense or another utters the unutterable suppressed inner voices for the Chinese people, the Oriental, and all those who belong to the marginal. -
1001 Years of Missing Martial Arts
1001 Years of Missing Martial Arts IMPORTANT NOTICE: Author: Master Mohammed Khamouch Chief Editor: Prof. Mohamed El-Gomati All rights, including copyright, in the content of this document are owned or controlled for these purposes by FSTC Limited. In Deputy Editor: Prof. Mohammed Abattouy accessing these web pages, you agree that you may only download the content for your own personal non-commercial Associate Editor: Dr. Salim Ayduz use. You are not permitted to copy, broadcast, download, store (in any medium), transmit, show or play in public, adapt or Release Date: April 2007 change in any way the content of this document for any other purpose whatsoever without the prior written permission of FSTC Publication ID: 683 Limited. Material may not be copied, reproduced, republished, Copyright: © FSTC Limited, 2007 downloaded, posted, broadcast or transmitted in any way except for your own personal non-commercial home use. Any other use requires the prior written permission of FSTC Limited. You agree not to adapt, alter or create a derivative work from any of the material contained in this document or use it for any other purpose other than for your personal non-commercial use. FSTC Limited has taken all reasonable care to ensure that pages published in this document and on the MuslimHeritage.com Web Site were accurate at the time of publication or last modification. Web sites are by nature experimental or constantly changing. Hence information published may be for test purposes only, may be out of date, or may be the personal opinion of the author. Readers should always verify information with the appropriate references before relying on it. -
Va.Orgjackie's MOVIES
Va.orgJACKIE'S MOVIES Jackie starred in his first movie at the age of eight and has been making movies ever since. Here's a list of Jackie's films: These are the films Jackie made as a child: ·Big and Little Wong Tin-Bar (1962) · The Lover Eternal (1963) · The Story of Qui Xiang Lin (1964) · Come Drink with Me (1966) · A Touch of Zen (1968) These are films where Jackie was a stuntman only: Fist of Fury (1971) Enter the Dragon (1973) The Himalayan (1975) Fantasy Mission Force (1982) Here is the complete list of all the rest of Jackie's movies: ·The Little Tiger of Canton (1971, also: Master with Cracked Fingers) · CAST : Jackie Chan (aka Chen Yuen Lung), Juan Hsao Ten, Shih Tien, Han Kyo Tsi · DIRECTOR : Chin Hsin · STUNT COORDINATOR : Chan Yuen Long, Se Fu Tsai · PRODUCER : Li Long Koon · The Heroine (1971, also: Kung Fu Girl) · CAST : Jackie Chan (aka Chen Yuen Lung), Cheng Pei-pei, James Tien, Jo Shishido · DIRECTOR : Lo Wei · STUNT COORDINATOR : Jackie Chan · Not Scared to Die (1973, also: Eagle's Shadow Fist) · CAST : Wang Qing, Lin Xiu, Jackie Chan (aka Chen Yuen Lung) · DIRECTOR : Zhu Wu · PRODUCER : Hoi Ling · WRITER : Su Lan · STUNT COORDINATOR : Jackie Chan · All in the Family (1975) · CAST : Linda Chu, Dean Shek, Samo Hung, Jackie Chan · DIRECTOR : Chan Mu · PRODUCER : Raymond Chow · WRITER : Ken Suma · Hand of Death (1976, also: Countdown in Kung Fu) · CAST : Dorian Tan, James Tien, Jackie Chan · DIRECTOR : John Woo · WRITER : John Woo · STUNT COORDINATOR : Samo Hung · New Fist of Fury (1976) · CAST : Jackie Chan, Nora Miao, Lo Wei, Han Ying Chieh, Chen King, Chan Sing · DIRECTOR : Lo Wei · STUNT COORDINATOR : Han Ying Chieh · Shaolin Wooden Men (1976) · CAST : Jackie Chan, Kam Kan, Simon Yuen, Lung Chung-erh · DIRECTOR : Lo Wei · WRITER : Chen Chi-hwa · STUNT COORDINATOR : Li Ming-wen, Jackie Chan · Killer Meteors (1977, also: Jackie Chan vs. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Film Studies Hong Kong Cinema Since 1997: The Response of Filmmakers Following the Political Handover from Britain to the People’s Republic of China by Sherry Xiaorui Xu Thesis for the degree of Doctor of Philosophy December 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Film Studies Doctor of Philosophy HONG KONG CINEMA SINCE 1997: THE RESPONSE OF FILMMAKERS FOLLOWING THE POLITICAL HANDOVER FROM BRITAIN TO THE PEOPLE’S REPUBLIC OF CHINA by Sherry Xiaorui Xu This thesis was instigated through a consideration of the views held by many film scholars who predicted that the political handover that took place on the July 1 1997, whereby Hong Kong was returned to the sovereignty of the People’s Republic of China (PRC) from British colonial rule, would result in the “end” of Hong Kong cinema. -
The Irresistible Rise of Asian Cinema 1
The Irresistible Rise of Asian Cinema 1 By Gerald Pratley Spring 1994 Issue of KINEMA PRODUCTION ACTIVITY It was not so many years ago it seems when speaking of motion pictures from Asia meant Japanese films as represented by Akira Kurosawa and films from India made by Satyajit Ray. But suddenly time passesand now we are impressed and immersed in the flow of films from Hong Kong, Taiwan, China, South Korea, the Philippines, with Japan a less significant player, and India and Pakistan more prolific than ever inmaking entertainment for the mass audience. No one has given it a name or described it as ”New Wave,” it is simply Asian Cinema -- the most exciting development in filmmaking taking place in the world today. In China everything is falling apart yet it manages to hold together, nothing works yet it keeps on going, nothing is ever finished or properly maintained, and yes, here time does wait for every man. But asfar art and industry are concerned, it is an awakening giant! The Shanghai Film Studios are a small world of their own -- a reflection of what China is today. They are reputedly the best among the country’s 15studio lots, including Beijing and Changchun. The August 1st Studio in Beijing makes good use of the Army as extras -- as the Canadian Bethune discovered when it filmed there. The studios in Shanghai are about five miles from downtown in a pleasant suburban district. Ittakes45 minutes by taxi crawling through the dense crowds and traffic of all descriptions. Like all studios worldwide, it looks old, rough and ready, a quiet and dusty place among trees and flowers. -
Japanese Women, Hong Kong Films, and Transcultural Fandom
SOME OF US ARE LOOKING AT THE STARS: JAPANESE WOMEN, HONG KONG FILMS, AND TRANSCULTURAL FANDOM Lori Hitchcock Morimoto Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of Communication and Culture Indiana University April 2011 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _______________________________________ Prof. Barbara Klinger, Ph.D. _______________________________________ Prof. Gregory Waller, Ph.D. _______________________________________ Prof. Michael Curtin, Ph.D. _______________________________________ Prof. Michiko Suzuki, Ph.D. Date of Oral Examination: April 6, 2011 ii © 2011 Lori Hitchcock Morimoto ALL RIGHTS RESERVED iii For Michael, who has had a long “year, two at the most.” iv Acknowledgements Writing is a solitary pursuit, but I have found that it takes a village to make a dissertation. I am indebted to my advisor, Barbara Klinger, for her insightful critique, infinite patience, and unflagging enthusiasm for this project. Gratitude goes to Michael Curtin, who saw promise in my early work and has continued to mentor me through several iterations of his own academic career. Gregory Waller’s interest in my research has been gratifying and encouraging, and I am most appreciative of Michiko Suzuki’s interest, guidance, and insights. Richard Bauman and Sumie Jones were enthusiastic readers of early work leading to this dissertation, and I am grateful for their comments and critique along the way. I would also like to thank Joan Hawkins for her enduring support during her tenure as Director of Graduate Studies in CMCL and beyond, as well as for the insights of her dissertation support group. -
Minutes Have Been Seen by the Administration) Ref : CB1/PS/2/16
立法會 Legislative Council LC Paper No. CB(1)765/18-19 (These minutes have been seen by the Administration) Ref : CB1/PS/2/16 Panel on Development and Panel on Home Affairs Joint Subcommittee to Monitor the Implementation of the West Kowloon Cultural District Project Minutes of meeting held on Tuesday, 6 November 2018, at 10:45 am in Conference Room 2 of the Legislative Council Complex Members present : Hon Jeffrey LAM Kin-fung, GBS, JP (Chairman) Hon Jimmy NG Wing-ka, JP (Deputy Chairman) Hon Abraham SHEK Lai-him, GBS, JP Hon Claudia MO Hon Steven HO Chun-yin, BBS Hon Frankie YICK Chi-ming, SBS, JP Hon YIU Si-wing, BBS Hon MA Fung-kwok, SBS, JP Hon CHAN Chi-chuen Hon CHU Hoi-dick Hon Holden CHOW Ho-ding Hon LAU Kwok-fan, MH Hon KWONG Chun-yu Hon Tony TSE Wai-chuen, BBS Members attending : Dr Hon KWOK Ka-ki Hon Jeremy TAM Man-ho Members absent : Dr Hon Helena WONG Pik-wan Dr Hon Junius HO Kwan-yiu, JP Hon Tanya CHAN Hon Vincent CHENG Wing-shun, MH - 2 - Public officers : Agenda items III and IV attending Mrs Cherry TSE LING Kit-ching, JP Permanent Secretary for Home Affairs Ms YING Fun-fong, JP Project Manager (Home Affairs Bureau) Mrs Angelina CHEUNG FUNG Wing-ping, JP Deputy Secretary for Home Affairs (2) Mr Eric CHENG Siu-fun Principal Assistant Secretary for Home Affairs (West Kowloon Cultural District) Attendance by : Agenda items III and IV invitation Mr Duncan PESCOD, GBS, JP Chief Executive Officer West Kowloon Cultural District Authority Mr Louis YU Executive Director, Performing Arts West Kowloon Cultural District Authority Mr -
Martial Arts & Media Culture in the Information
CONTRIBUTOR Tim Trausch is a research associate in the Department of East Asian Studies at the University of Cologne, Germany. His research focuses on Chinese media culture and aesthetics. Recent publications include Affekt und Zitat: Zur Ästhetik des Martial-Arts-Films [On the Aesthetics of the Martial Arts Film, 2017] and Chinese Martial Arts and Media Culture: Global Perspectives [2018]. Martial Arts & Media Culture in the Information Era: Glocalization, Heterotopia, Hyperculture Tim Trausch DOI ABSTRACT 10.18573/mas.78 This chapter is derived from the Editor’s Introduction to the edited collection Chinese Martial Arts and Media Culture: Global Perspectives [Rowman & Littlefield International, 2018]. The collection explores how narratives and aesthetics of the martial arts genre(s) are shaped and imbued with meaning in changing KEYWORDs social, cultural, and media arrangements. Drawing from a range of recent media texts, this introductory chapter discusses the Chinese martial arts, media culture, global circulation of signs and images of (Chinese) martial arts media aesthetics, key visuals, information and their engagement with alleged national, cultural, textual, and network societies, self and other, generic, and media borders. It argues that these texts reflect glocalization, heterotopia, hyperculture and (re)produce three paradigms of martial arts and media culture in the information age: glocalization, heterotopia, and CITATION hyperculture. What connects these three notions is that, rather than erase difference or establish it -
Bruce Lee and Post-DVD Textuality
JOMEC Journal Journalism, Media and Cultural Studies Enter the 2-Disc Platinum Edition: Bruce Lee and Post-DVD Textuality Leon Hunt Brunel University Email: [email protected] Keywords Bruce Lee DVD textuality DVD extras The Big Boss Game of Death Abstract Bruce Lee’s films have moved across not only cultural boundaries, but also different media platforms – film, television, video and an assortment of digital media. DVD and Blu- ray don’t just facilitate ownership of optimum and definitive versions of texts, but also re- define textuality through their secondary materials. As Barbara Klinger argues, ‘DVD acts as an ambassador of context, entering the home complete with its own armada of discourses meant to influence reception, including behind-the-scenes industry information and commentary tracks’. In the case of a culturally contested figure like Bruce Lee, such an armada of discourses might be particularly worthy of study. Moreover, DVD introduces new criteria for determining what makes a ‘perfect DVD movie’, by making use of the audio-visual ‘perfection’ facilitated by the medium or presenting particularly impressive arrays of extras. Bruce Lee is perhaps not an obvious candidate for post-DVD study, compared to such formats as the TV boxed set or multi-disc extended cut of a Hollywood blockbuster. These comparatively low budget films don’t lend themselves to the audio-visual perfection expected of a high-end blockbuster movie. Moreover, most DVD versions of his films (including releases in HK and the US) have been light on extra features. Nevertheless certain releases of Lee films do raise interesting questions in the light of post-DVD debates.