Chinese Martial Arts Movie Week
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Bullet in the Head
JOHN WOO’S Bullet in the Head Tony Williams Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Tony Williams 2009 ISBN 978-962-209-968-5 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 information storage or retrieval system, without prior permission in writing from the publisher. 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 Condor Production Ltd., Hong Kong, China Contents Series Preface ix Acknowledgements xiii 1 The Apocalyptic Moment of Bullet in the Head 1 2 Bullet in the Head 23 3 Aftermath 99 Appendix 109 Notes 113 Credits 127 Filmography 129 1 The Apocalyptic Moment of Bullet in the Head Like many Hong Kong films of the 1980s and 90s, John Woo’s Bullet in the Head contains grim forebodings then held by the former colony concerning its return to Mainland China in 1997. Despite the break from Maoism following the fall of the Gang of Four and Deng Xiaoping’s movement towards capitalist modernization, the brutal events of Tiananmen Square caused great concern for a territory facing many changes in the near future. Even before these disturbing events Hong Kong’s imminent return to a motherland with a different dialect and social customs evoked insecurity on the part of a population still remembering the violent events of the Cultural Revolution as well as the Maoist- inspired riots that affected the colony in 1967. -
Jet Li Workout Routine
JET LI WORKOUT ROUTINE Bonus PDF File By: Mike Romaine Copyright Notice No part of this report may be reproduced or transmitted in any form whatsoever, electronic, or mechanical, including photocopying, recording, or by any informational storage or retrieval system without expressed written, dated and signed permission from the author. All copyrights are reserved. Disclaimer and/or Legal Notices The information provided in this book is for educational purposes only. I am not a doctor and this is not meant to be taken as medical advice. The information provided in this book is based upon my experiences as well as my interpretations of the current research available. The advice and tips given in this course are meant for healthy adults only. You should consult your physician to insure the tips given in this course are appropriate for your individual circumstances. If you have any health issues or pre-existing conditions, please consult with your physician before implementing any of the information provided in this course. This product is for informational purposes only and the author does not accept any responsibilities for any liabilities or damages, real or perceived, resulting from the use of this information. JET LI WORKOUT ROUTINE Training Volume: 5+ days per week Explanation: I’m going to build you a calisthenics program that you can follow 3-5 days per week, and then I will also be sharing his self-defense and training secrets below as well. Want To Upgrade This Workout? The Superhero Academy now comes with an Upgrade Your Workout Tool that allows Academy members to turn any SHJ workout into a 4-8 week fully planned regime detailing exact weights to lift and including reverse & tradition pyramid training, straight sets, super sets, progressive overload and more. -
Yao Ming Still Most Engaging Chinese Celebrity : R3 by David Blecken on Mar 31, 2011 (5 Hours Ago) Filed Under Marketing, China
# 页码，1/4 Network Asia-Pacific Know it now... News People Video Blogs & Opinions Rankings & Research Creativity Marketing Home / Marketing / Rankings & Research / Research Reports Yao Ming still most engaging Chinese celebrity : R3 By David Blecken on Mar 31, 2011 (5 hours ago) filed under Marketing, China BEIJING – Yao Ming remains China’s most popular celebrity, closely followed by hurdler Liu Xiang and Jackie Chan, according to Enspire, a study by marketing consultancy R3. KEYWORDS yao ming, liu xiang, jackie chan, r3, enspire, celebrity, china AGENCY r3 INDUSTRY marketing RELATED Yao Ming's popularity is linked to his attitude towards CSR NBA star Yao Ming partners with Monster Cable to Kobe Bryant was the only foreign celebrity to make the top thirty ranking, launch Yao Monster coming in eighth. Other prominent personalities within the top 10 were Andy Sprite rolls out 'green Lau, Faye Wong, Jet Li, Leehom Wang, Jacky Cheung and Jay Chou. carpet' for China premier of The Green Hornet However, the calculated value of the top two stars was significantly higher than Maxus Guangzhou seals http://en.campaignchina.com/Article/252958,yao-ming-still-most-eng... 2011-03-31 # 页码，2/4 Maxus Guangzhou seals Ping An Insurance Group’ the others. Both Yao and Liu received a value rating of more than 130, while s two-year media contract Chan was valued at 68. Provincial China still largely untapped : Nielsen Sunny Chen, a senior researcher at the company, attributed Yao’s popularity to his perceived prowess as a sports person, his “strong moral values” and Porsche calls pitch in China active participation in corporate social responsibility (CSR) initiatives. -
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Humanity 2012 Papers. ~~~~~~ “‘We are all the same, we are all unique’: The paradox of using individual celebrity as metaphor for national (transnational) identity.” Joyleen Christensen University of Newcastle Introduction: This paper will examine the apparently contradictory public persona of a major star in the Hong Kong entertainment industry - an individual who essentially redefined the parameters of an industry, which is, itself, a paradox. In the last decades of the 20th Century, the Hong Kong entertainment industry's attempts to translate American popular culture for a local audience led to an exciting fusion of cultures as the system that was once mocked by English- language media commentators for being equally derivative and ‘alien’, through translation and transmutation, acquired a unique and distinctively local flavour. My use of the now somewhat out-dated notion of East versus West sensibilities will be deliberate as it reflects the tone of contemporary academic and popular scholarly analysis, which perfectly seemed to capture the essence of public sentiment about the territory in the pre-Handover period. It was an explicit dichotomy, with commentators frequently exploiting the notion of a culture at war with its own conception of a national identity. However, the dwindling Western interest in Hong Kong’s fate after 1997 and the social, economic and political opportunities afforded by the reunification with Mainland China meant that the new millennia saw Hong Kong's so- called ‘Culture of Disappearance’ suddenly reconnecting with its true, original self. Humanity 2012 11 Alongside this shift I will track the career trajectory of Andy Lau – one of the industry's leading stars1 who successfully mimicked the territory's movement in focus from Western to local and then regional. -
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. -
7015 B Program P.Indd
From the Queen to the Chief Executive: May 4–6 Hong Kong Films 2007 10 Years After the Handover 香港電影縱橫﹕ 展與談 1 I am absolutely thrilled to welcome you to our fi rst Hong Kong fi lm Schedule at a glance festival, From the Queen to the Chief Executive: Hong Kong Films Ten Years After the Handover. This important event fi rst and foremost celebrates the friday, may 4 2:30 pm–4:15 pm achievements of Hong Kong fi lm and its impact on a new and ever- Banana Bruises; Royal Ontario Museum changing global culture. From the Queen to the Chief Executive also provides Dumplings Theatre, 100 Queen’s Park a forum to contemplate developments on Hong Kong since its historic 4:15 pm–5:15 pm 6:15 pm–7:15 pm return to China in 1997. Film is a lens through which to understand the Horror Panel VIP Reception dynamics of a changing society and the world around it. Film provides 5:15 pm–6:30 pm Royal Ontario Museum – an important platform, a medium, for telling peoples’ stories. In this Dinner Break Glass Room on the respect, fi lm is both critical and celebratory, it challenges and re- 4th Floor 6:30 pm–8:35 pm affi rms. Its impact is political, social, economic, cultural and often Venues 7:00 pm Eastbound; Welcome leaves legacies of historical import. Doors Open Lost in Time to the First 7:30 pm–7:40 pm 8:35 pm–9:00 pm The Asian Institute is an inter-disciplinary home to scholars working iiX iiX iiX iiX Break Waddg Waddg Welcoming Remarks University on Asia, comprising leading scholars in the humanities and social VkZcjZgY YZdch]^gZea 7:40 pm–9:30 pm 9:00 pm–11:00 pm sciences. -
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. -
The Birth of East Asia Cultural Regionalization Through Co-Production Strategies
Dal Yong Jin & Dong-Hoo Lee The Birth of East Asia Cultural Regionalization through Co-Production Strategies Introduction East Asian cultural producers have rapidly which we have that others have not.”4 As in many increased co-productions over the past several countries, television particularly remains primarily years. The Japanese, Chinese, Taiwanese, and a national phenomenon in East Asia, and the Korean cultural industries have produced cross- domestic state plays a significant role in shaping cultural outputs, including films, television national television systems.5 dramas, and music. Local cultural industries Producers in the region, however, have and producers in East Asia have begun pooling increasingly turned to international co- financial and cultural resources, which is a useful productions since the late 1990s, because the Pan- means to compete with cultural products from Asian co-production mode takes advantage of the other regions, particularly those from Hollywood, joint consumption cost structure. It entails jointly and have produced a few cross-cultural hits since developing and producing film and television the late 1990s.1 programs with attributes which make them Unlike in many other parts of the world, co- accessible to audiences in more than one national production strategies in East Asia are relatively market.6 Filmmakers and television networks, new phenomena. Until a few years ago, East Asia including independent producers, are now rapidly was viewed as a jumble of provincial cultural reaching beyond their local and national audiences markets. Cultural works in Japan, China, Korea, to attract regional and global viewers. Hong Kong, and Taiwan were made largely for This article examines the recent trends of domestic markets. -
Silence and Face-Work in Two Chinese TV Talk Shows
Discourse, Context & Media 2 (2013) 52–74 Contents lists available at SciVerse ScienceDirect Discourse, Context & Media journal homepage: www.elsevier.com/locate/dcm Silence and face-work in two chinese TV talk shows Lee Cher Lengn, Chen Yao, Tan Gek Leng National University of Singapore, Singapore article info abstract Article history: This study examines the phenomenon of silence and face-work in Chinese TV talk shows. In general, TV Received 31 October 2011 talk shows aim at entertaining the audience by interviewing celebrities either about their work or their Received in revised form personal life, subjects that will interest the audience. Since air time is limited, silence in such TV talk 14 January 2013 shows is not preferred. However, our study shows that there are many instances of silences in these Accepted 25 January 2013 talk shows. Silences are seen as meaningful turns in the conversations. The data is taken from two Available online 11 February 2013 Chinese TV talk shows: Lu Yu You Yue (A Date with Lu Yu, henceforth LY) which is a popular information Keywords: talk show in China and Kang Xi Lai Le (Here Comes Kang Xi, henceforth KX) from Taiwan. This study Silence explores how the frame or expectations of the type of a talk show will determine how the silences are Face-work used in relation to face-work given the media specificity and cultural expectations. Politeness & 2013 Elsevier Ltd. All rights reserved. Chinese Talk shows Frame 1. Introduction Since the nineties, there have been more and more studies on English media talk (Fairclough, 1995; Hutchby, 2006; Scannell, 1991) including radio talk (Hutchby, 1991, 1992, 1995, 1996a, 1996b), TV talk shows (Carbaugh, 1988; Gregori-Signes, 2000; Ilie, 2001; Livingstone and Lunt, 1994; Martinez, 2003; Tolson, 1991, 2001), and quiz shows (Culpeper, 2005). -
List of Action Films of the 2010S - Wikipedia, the Free Encyclopedia
List of action films of the 2010s - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/List_of_action_films_of_the_2010s List of action films of the 2010s From Wikipedia, the free encyclopedia This is an incomplete list, which may never be able to satisfy particular standards for completeness. You can help by expanding it (//en.wikipedia.org /w/index.php?title=List_of_action_films_of_the_2010s&action=edit) with reliably sourced entries. This is chronological list of action films originally released in the 2010s. Often there may be considerable overlap particularly between action and other genres (including, horror, comedy, and science fiction films); the list should attempt to document films which are more closely related to action, even if it bends genres. Title Director Cast Country Sub-Genre/Notes 2010 13 Assassins Takashi Miike Koji Yakusho, Takayuki Yamada, Yusuke Iseya Martial Arts[1] 14 Blades Daniel Lee Donnie Yen, Vicky Zhao, Wu Chun Martial Arts[2] The A-Team Joe Carnahan Liam Neeson, Bradley Cooper, Quinton Jackson [3] Alien vs Ninja Seiji Chiba Masanori Mimoto, Mika Hijii, Shuji Kashiwabara [4][5] Bad Blood Dennis Law Simon Yam, Bernice Liu, Andy On [6] Sorapong Chatree, Supaksorn Chaimongkol, Kiattisak Bangkok Knockout Panna Rittikrai, Morakot Kaewthanee [7] Udomnak Blades of Blood Lee Joon-ik Cha Seung-won, Hwang Jung-min, Baek Sung-hyun [8] The Book of Eli Albert Hughes, Allen Hughes Denzel Washington, Gary Oldman, Mila Kunis [9] The Bounty Hunter Andy Tennant Jennifer Aniston, Gerard Butler, Giovanni Perez Action comedy[10] The Butcher, the Chef and the Wuershan Masanobu Ando, Kitty Zhang, You Benchang [11] Swordsman Centurion Neil Marshall Michael Fassbender, Olga Kurylenko, Dominic West [12] City Under Siege Benny Chan [13] The Crazies Breck Eisner Timothy Olyphant, Radha Mitchell, Danielle Panabaker Action thriller[14] Date Night Shawn Levy Steve Carell, Tina Fey, Mark Wahlberg Action comedy[15] The Expendables Sylvester Stallone Sylvester Stallone, Jason Statham, Jet Li [16] Faster George Tillman, Jr. -
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).