June 2010 Newsletter
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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. -
Crime Wave for Clara CRIME WAVE
Crime Wave For Clara CRIME WAVE The Filmgoers’ Guide to the Great Crime Movies HOWARD HUGHES Disclaimer: Some images in the original version of this book are not available for inclusion in the eBook. Published in 2006 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com In the United States and Canada distributed by Palgrave Macmillan, a division of St. Martin’s Press, 175 Fifth Avenue, New York NY 10010 Copyright © Howard Hughes, 2006 The right of Howard Hughes to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. The TCM logo and trademark and all related elements are trademarks of and © Turner Entertainment Networks International Limited. A Time Warner Company. All rights reserved. © and TM 2006 Turner Entertainment Networks International Limited. ISBN 10: 1 84511 219 9 EAN 13: 978 1 84511 219 6 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Typeset in Ehrhardt by Dexter Haven Associates Ltd, London Printed and bound in Great Britain by TJ International, -
Bruce Lee As Method Daryl Joji Maeda
Nomad of the Transpacific: Bruce Lee as Method Daryl Joji Maeda American Quarterly, Volume 69, Number 3, September 2017, pp. 741-761 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/aq.2017.0059 For additional information about this article https://muse.jhu.edu/article/670066 Access provided by University Of Colorado @ Boulder (19 Nov 2017 16:06 GMT) Bruce Lee as Method | 741 Nomad of the Transpacific: Bruce Lee as Method Daryl Joji Maeda The life of the nomad is the intermezzo. —Gilles Deleuze and Félix Guattari Be formless, shapeless, like water. —Bruce Lee he transpacific nomad Bruce Lee was born in San Francisco, raised in Hong Kong until the age of eighteen, came of age in Seattle, had his Thopes of movie stardom extinguished in Hollywood, and returned to Hong Kong to rekindle his dreams. In 1971 he made his first martial arts film, Tang Shan Daxiong, in which he played a Chinese immigrant to Thai- land who discovers that his boss is a drug-smuggling kingpin. The following year, he starred in Jing Wu Men as a martial artist who defends Chinese pride against Japanese imperialists in the International Settlement of early twentieth- century Shanghai. Because of the overwhelming popularity of both films in Hong Kong and throughout Asia, National General Pictures selected them for distribution in the United States in 1973. Tang Shan Daxiong was supposed to be released as The Chinese Connection to associate it with The French Con- nection, a mainstream hit about heroin trafficking; the title ofJing Wu Men was translated as Fist of Fury. -
An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: an Interpretive History of Blacks in American Film by Donald Bogle Dominique M
Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Spring 4-11-2011 An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle Dominique M. Hardiman Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Hardiman, Dominique M., "An Interactive Study Guide to Toms, Coons, Mulattos, Mammies, and Bucks: An Interpretive History of Blacks in American Film By Donald Bogle" (2011). Research Papers. Paper 66. http://opensiuc.lib.siu.edu/gs_rp/66 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. 1 AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM BY DONALD BOGLE Written by Dominique M. Hardiman B.S., Southern Illinois University, 2011 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Masters of Science Degree Department of Mass Communications & Media Arts Southern Illinois University April 2011 ii RESEARCH APPROVAL AN INTERACTIVE STUDY GUIDE TOMS, COONS, MULATTOS, MAMMIES, AND BUCKS: AN INTERPRETIVE HISTORY OF BLACKS IN AMERICAN FILM By Dominique M. Hardiman A Research Submitted in Partial Fulfillment of the Requirements for the Degree of Masters of Science in the field of Professional Media & Media Management Approved by: Dr. John Hochheimer, Chair Graduate School Southern Illinois University Carbondale April 11, 2011 1 ACKNOWLEDGEMENTS This Research would not have been possible without the initial guidance of Dr. -
Episode 73 – Enter the Dragon (Movie Profile) | Whistlekickmartialartsradio.Com
Episode 73 – Enter the Dragon (Movie Profile) | whistlekickMartialArtsRadio.com Jeremy Lesniak: Hey there, everyone its episode 73 of whistlekick Martial Arts Radio, the only place to hear the best conversations about the martial arts, like today’s episode where we dig deep into the classic martial arts film, Enter the Dragon. I’m the founder here at whistlekick, but I’m better known as your host, Jeremy Lesniak. whistlekick, in case you don’t know, makes the world’s best sparring gear and some excellent apparel and accessories for practitioners and fans of traditional martial arts. I’d like to welcome our new listeners and thank all of you that are listening again. If you’re not familiar with our products, you can learn more about them at whistlekick.com. All of our past podcast episodes, show notes and a lot more are on a different site, whistlekickmartialartsradio.com. Today’s episode also has a full transcript with lots of photos, videos and links on the website. If you’re listening from a computer, you might want to follow along with everything we’ve posted. And while you’re over there, go ahead and sign up for our newsletter. We offer exclusive content to subscribers and it’s the only place to find out about upcoming guests. As we did a few weeks ago with The Karate Kid, the original one, we’re going to dig into one of, if not the most, influential martial arts films of all time- Enter the Dragon. A lot of our guests have cited Enter the Dragon as either a favorite movie, or even part of the reason they got into the martial arts. -
Built with Empty Fists: the Rise and Circulation of Black Power Martial Artistry During the Cold War
Built with Empty Fists: The Rise and Circulation of Black Power Martial Artistry during the Cold War by Maryam K. Aziz A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (American Culture) in the University of Michigan 2020 Doctoral Committee: Associate Professor Matthew J. Countryman, Chair Associate Professor Victor Román Mendoza Associate Professor Sherie M. Randolph, Georgia Tech University Associate Professor Stephen Ward Maryam K. Aziz [email protected] ORCID iD: 0000-0002-2006-4285 © Maryam K. Aziz 2020 DEDICATION To my Nana, Dr. Winfred Barbee, who passed away just as I finished prelims and defended my prospectus. Thank you for helping to raise me, for all the years of laughter, rigor, and Black culture, and for being the first person to see me submit this dissertation, perched from your hallowed place atop my desk. To Aura Rain Rosser, who lost her life shortly after I arrived in Ann Arbor. If not for state violence, you may very well have become the doctor instead of me, but you certainly would have grown old. And to all the Black women, cis, trans, and non-binary, who have lost their lives but now fly over us. You are the real warriors. #SayHerName ii ACKNOWLEDGEMENTS I could not have written this project without the figures included in its pages. They told their own stories and created their own archives. I picked up a story already told and, like my favorite detectives, listened to those who lived it. I thank everyone that showed me that martial arts, movement arts, and healing movements are woven into the fabric of human cultures. -
BRUCE LEE, KUNG FU, and the EVOLUTION of CHINESE AMERICA Darcy Coover Clemson University, [email protected]
Clemson University TigerPrints All Theses Theses 12-2008 FROM THE GILDED GHETTO TO HOLLYWOOD: BRUCE LEE, KUNG FU, AND THE EVOLUTION OF CHINESE AMERICA Darcy Coover Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the United States History Commons Recommended Citation Coover, Darcy, "FROM THE GILDED GHETTO TO HOLLYWOOD: BRUCE LEE, KUNG FU, AND THE EVOLUTION OF CHINESE AMERICA" (2008). All Theses. 503. https://tigerprints.clemson.edu/all_theses/503 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. FROM THE GILDED GHETTO TO HOLLYWOOD: BRUCE LEE, KUNG FU, AND THE EVOLUTION OF CHINESE AMERICA A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts History by Darcy Anne Robards Coover December 2008 Accepted by: Dr. Abel A. Bartley, Committee Chair Dr. James M. Burns Dr. Edwin E. Moïse ABSTRACT As has been true for most groups of immigrants arriving in the United States, the Chinese have undergone a wide-ranging, and at times rapid, transformation in the eyes of mainstream America. No other ethnic or racial group in American history has been so singled out for immigration regulation as have the Chinese—the Exclusion Act, passed in 1882, still represents the only time that a particular ethnic group was selected for immigration restriction. While an analysis of the legal history of the era reveals the various restrictions faced by Chinese immigrants in terms of the state, a look at American popular culture paints an even more vivid picture of the Chinese American experience. -
The Cinema of Hong Kong History, Arts, Identity
THE CINEMA OF HONG KONG HISTORY, ARTS, IDENTITY Edited by POSHEK FU, University of Illinois, Urbana-Champaign DAVID DESSER, University of Illinois, Urbana-Champaign PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de AlarcoÂn 13, 28014 Madrid, Spain q Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Printed in the United States of America Typefaces Times Roman 10.25/12.5 pt. and Optima System DeskTopPro/UX [BV] A catalog record for this book is available from the British Library. Library of Congress Cataloging in Publication Data The cinema of Hong Kong : history, arts, identity / edited by Poshek Fu, David Desser. p. cm. Includes index. ISBN 0-521-77235-4 1. Motion pictures ± China ± Hong Kong. I. Fu, Poshek, 1955± II. Desser, David. PN1993.5.H6 C56 2000 791.43©095125 21±dc21 99-045702 ISBN 0 521 77235 4 hardback CONTENTS List of Contributors page vii Acknowledgments xi POSHEK FU AND DAVID DESSER Introduction 1 POSHEK FU AND DAVID DESSER Chronology of Hong Kong Cinema 13 DAVID DESSER AND POSHEK FU PART I. HISTORY 1. The Kung Fu Craze: Hong Kong Cinema's First American Reception 19 DAVID DESSER 2. -
Violent Exchanges: Genre, National Cinemas, and the Politics of Popular Films'
'Violent Exchanges: genre, national cinemas, and the politics of popular films' Case Studies in Spanish Horror and American Martial Arts Cinema University of Nottingham Hallward Library --< By Andrew Willis Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy, September 2006 Violent Exchanges: genre, national cinemas and the politics of popular films Contents: 1. Introduction 1.1 Genre 1.2 National Cinemas and popular genres 5 1.3 Popular Cinemas and their Interaction with Hollywood 8 1.4 Stardom 12 1.5 Cultural Exchange 14 1.6 A Note on Structure 15 Section 1: Spanish Horror Cinema 2. Leon' Klimovsky and Narcisco Ibanez Serrador: the origins of the Spanish Horror Cinema of the early 1970s. 24 2.1 The Spanish Horror Boom: 1969-1975 25 2.2 Horror and Latin American Cinema 26 2.3 Narcisco Ibanez Serrador: Argentina, Spanish television and Historias para no dormer 29 2.4 Revival in the 1980s: nostalgia and horror in Spanish cinema 35 2.5 Into the 21st century: Peliculas para no dormer 37 3. Spanish Horror and the Flight from Art Cinema: 1967-1973 41 3.1 Spanish Cinema in the 1960s 43 3.2 Spanish Horror in the late 1960s 46 3.3 The Blood Spattered Bride 49 3.4 The Bell ofHell 51 4. Horror and Politics: Eloy de la Iglesia's La semana del asesino 62 4.1 Horror and Spanish Cinema 63 4.2 Cannibal Man / La semana del asesino 68 5. Angustia and the Self-Reflexive Horror Film in Spain 85 5.1 Angustia and Genre: definitions and misconceptions 88 5.2 Postmodernism, Spanish Cinema and the Horror Movie 92 5.3 Angustia, Self-Reflexivity and the European Avant-Garde 95 5.4 Angustia, Postmodernity and Post-Classical Cinema 100 5.5 Breaking Down Distinctions Between the Avant-Garde and the Popular 101 6. -
Bruce Lee in the Time of Cyberpunk and Coronavirus
: Bruce Lee in the Time of Cyberpunk and the Coronavirus A Fighter for Our Transnational Brave New World Dahpon David Ho Pierre Berton: You’ve lost me! Bruce Lee: [laughs] I have, huh? …I mean here is the natural instinct, and here is control. You are to combine the two in harmony. Not—if you have one to the extreme, you’ll be very unscientific. If you have another to the extreme, you become all-of-a-sudden a mechanical man—no longer a human being. […] Pierre Berton: Do you still think of yourself Chinese, or do you ever think of yourself as North American? Bruce Lee: You know what I want to think of myself? As a human being. Because—I mean, I don’t wanna sound like, “as Confucius, sayyy....”—but under the sky, under the heaven, man, there is but one family. It just so happens, man, that people are different. ---Interview on The Pierre Berton Show, 9 December 19711 Bruce Lee did not set out to be a hero; he wanted to be an actor, a human being of action. Basically, he wished to be somebody: a human being who genuinely expressed himself in the kinetic language of martial arts, and one who helped others, likewise, to express themselves. And yet, despite his untimely death in 1973 at the age of 32, Bruce Lee posthumously became an international hero, a person who exerted a profound influence on global culture, providing a transcultural model of what it means to be truly human. With his lightning-fast kicks, incredible physique, and almost universally-recognizable kung fu battle cry (“Whoooeeeaaaaah!!!”, variously spelled), Bruce Lee became not just somebody, but rather the body that transformed Asian and American cinema: martial arts, body expression, fitness, masculinity, race, class, and anticolonialism. -
Download Presskit
TABLE OF CONTENTS CONTACT DETAILS AND TECHNICAL INFORMATION 1. SYNOPSIS: LOGLINE AND ONE PARAGRAPH 2. SYNOPSIS: ONE PAGE 3. DIRECTOR’S STATEMENT 5. PRODUCER’S STATEMENT 7. KEY CREATIVE CREDITS 9. DIRECTOR BIOGRAPHY 10. PRODUCER BIOGRAPHY 11. KEY CREATIVES 12. INTERVIEWEE LIST 14. END CREDITS 22. 1. CONTACT DETAILS TECHNICAL INFORMATION PRODUCTION COMPANY Production Format: 2k Scope (2048 x 858) Frame Rate: 25 WILDBEAR ENTERTAINMENT Release Formats: DCP, ProRes QT Address: PO Box 6160, Woolloongabba Sound Configuration: 5.1 and Stereo Mix Queensland 4102 AUSTRALIA Date of Production: 2019 Phone: +61 7 3891 7779 Release Date: 2019 Web: www.wildbear.tv Duration: 107’ ISAN: 0000-0005-6774-0000-S-0000-0000-R VERONICA FURY - PRODUCER Address: PO Box 6160, Woolloongabba Queensland 4102 AUSTRALIA Phone: +61 7 3891 7779 Email: [email protected] DISTRIBUTORS AND SALES AGENTS AUSTRALIA AND NEW ZEALAND SALES REST OF WORLD SALES UMBRELLA ENTERTAINMENT XYZ FILMS Address: Unit 19/79-83 High Street, Kew Address: 3103 S La Cienega Blvd, Los Angeles, Victoria, Australia 3101 CA 90016 UNITED STATES OF AMERICA Phone: +61 3 9020 5130 Phone: +1 310 956 1550 Web: www.umbrellaent.com.au Email: todd@xyzfilms.com OFFICIAL FACEBOOK PAGE www.facebook.com/kungfukicksfilm/ OFFICIAL INSTAGRAM PAGE www.instagram.com/kungfukicksfilm/ OFFICIAL IMDB PAGE www.imdb.com/title/tt9169764 2. SYNOPSIS: LOGLINE AND ONE PARAGRAPH Logline How Hong Kong Kicked Off A Cinematic Revolution! Short Synopsis Iron Fists and Kung Fu Kicks explores the influence of Hong Kong’s martial arts cinema and how it’s shaped filmmaking from Hollywood to Uganda. Featuring Hong Kong legends, performers, and cultural commentators, this doco takes you on a non-stop ride from the early days of martial arts movies with the Shaw Brothers to Hollywood blockbusters like The Matrix. -
Professor Brannon Beliso | Whistlekickmartialartsradio.Com
Episode 21 – Professor Brannon Beliso | whistlekickMartialArtsRadio.com Jeremy Lesniak: Hello everybody and thanks for tuning in today. This is episode 21 of whistlekickMartialArtsRadio the place to hear the best stories from the best martial artists. I'm your host Jeremy Lesniak and I'm also the founder here at whistlekick, makers of the best sparring gear on earth as well as great apparel and accessories for traditional martial artists. You can learn more about all of our products like our lightweight polyester t-shirts that make a great base layer under your uniform over at whistlekick.com and you can learn more about the podcasts including all our past episodes show notes for this one and a whole lot more all for free over at whistlekickmartialartsradio.com and while you're on our website don't forget to sign up for our newsletter full of information, discounts and lots of other useful martial arts content and if you're an Android user you can check out our new Android app on the Google Play store just search for whistlekick. It's an easy way to stay connected with the show and it's free. And now to the episode. This week we're joined by Professor Brannon Beliso. Professor Beliso is an incredibly insightful and motivational man. He not only owns multiple martial arts schools he consults with people on how to make their schools better. We talked a lot about his past with the martial arts and sometimes just life in general. I came away from today's episode feeling inspired and I hope you do too.