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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. -
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
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. -
James TIEN 田俊(B
James TIEN 田俊(b. 1942) Actor Born Chen Wen, Tien was from Chao’an, Guangdong. In 1958, he moved to Hong Kong with his family. Same as Angela Mao Ying, he graduated from Fu Hsing Dramatic Arts Academy in Taiwan. He worked as a stuntman at Shaw Brothers in the mid-1960s. In 1969, he gained fame by assisting director Lo Wei in shooting a kung fu movie; soon after, he appeared in Vengeance of a Snow Girl (1971) in which he was also the action choreographer. Tien joined Golden Harvest soon after it was established, and adopted the stage name James Tien since. He was the male lead in the company’s early works, such as The Invincible Eight (1971), The Blade Spares None (1971), The Chase (1971) and Thunderbolt (1973, filmed in 1971). He was also cast in Bruce Lee’s vehicles such as The Big Boss (1971) and Fist of Fury (1972). From A Man Called Tiger (1973) and Seaman No 7 (1973) onward, he was often seen playing the villain; thereafter, he starred in a number of kung fu films, such as Shaolin Boxers (1974), The Dragon Tamers (1975), Hand of Death (1976) and The Shaolin Plot (1977). In 1978, Tien began to work for Lo Wei Motion Picture Co., Ltd., appearing in the Jackie Chan-starring Magnificent Bodyguards (1978), Spiritual Kung Fu (1978) and Dragon Fist (1979), all produced in Taiwan. Tien remained active throughout the 1980s, mostly taking part in Golden Harvest projects, including Winners & Sinners (1983), Twinkle, Twinkle, Lucky Stars (1985), Heart of Dragon (1985), The Millionaires’ Express (1986), Eastern Condors (1987) and Super Lady Cop (1992). -
Copyright by Hector Enrique Gonzales 2017
Copyright by Hector Enrique Gonzales 2017 The Thesis Committee for Hector Enrique Gonzales Certifies that this is the approved version of the following thesis: NO STUNT DOUBLES! NO CGI! NO WIRES!: A Comparative Study of Thai, Indonesian, and American Martial Arts Cinema. APPROVED BY SUPERVISING COMMITTEE: Supervisor: Kathleen Tyner Andrew Garrison NO STUNT DOUBLES! NO CGI! NO WIRES!: A Comparative Study of Thai, Indonesian, and American Martial Arts Cinema. by Hector Enrique Gonzales Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin December 2017 Dedication I would like to dedicate this Thesis to my family who has supported me through disappointments, heartbreaks, tribulations and triumphs. To my mother and father, I would like to say nothing I have ever done or will do would be if it weren’t for your guidance, patience, and love. Jini, Carol, Myrella, Rick, Martin and all the kids, thank you for everything. This is for you. To my friends and co-workers thank you for supporting me along the way as I indulged myself in this quite silly endeavor. Special thanks to Taylor, Jordan, and Derek, thanks for having my back the last 4 years. To Larry, thank you for the gift of martial arts, it and you have truly changed my life for the better. To Nancy, Geoff, Kathleen, and Andy, thanks for always believing in me and helping me in graduate school as well as professionally and for being my friends. -
Reading About Bruce
Listening and reading Bruce Lee Bruce Lee was the man who brought kung fu to the West with his famous film Enter the Dragon. Although Bruce Lee was born in Chinatown in San Francisco in 1940, his parents soon moved back to Hong Kong. Unfortunately, the Japanese Imperial Army invaded Hong Kong shortly afterwards but the family survived. His father Lee Hoi Chuon was a famous Cantonese opera singer and actor and his mother Grace was a wealthy aristocrat from Hong Kong. In 1957 Lee fought and won the Hong Kong high school boxing championship and then became the Hong Kong cha cha cha champion for 1958. At the age of 18, he returned to the United States where his sister and brother lived. He studied drama and philosophy at the University of Washington in Seattle. Then he opened his first martial arts school where he taught his friends Jun Fan Gung Fu. Bruce Lee then had the original idea behind the very famous TV series Kung Fu but Warner Bros. decided not to have a Chinese person as the star of the series. As a result, Bruce and wife and children caught a plane to Hong Kong. Back in Hong Kong, Bruce immediately made three very successful films with director Raymond Chow called The Big Boss, Fist of Fury and The Way of the Dragon. There is a very famous fight scene in The Way of the Dragon with Chuck Norris filmed in the Colosseum in Rome where the gladiators fought. His last film was Enter the Dragon and was also a huge hit. -
Police Story (15) 警察故事 THU 25 FEB, 20:15 Dir Jackie Chan/1985 HK/99 Mins/ Jackie Chan, Maggie Cheung, Brigitte Lin in Ca
Police Story (15) 警察故事 THU 25 FEB, 20:15 Dir Jackie Chan/1985 HK/99 mins/ Jackie Chan, Maggie Cheung, Brigitte Lin In Cantonese with English and Chinese subtitles Hong Kong superstar Jackie Chan considers Police Story (1985) to be one of his very best films and he’s not wrong. The film was developed following Chan’s disappointment with The Protector (James Glickenhaus, 1985) which he felt had not showcased his talents in a productive and appealing manner. He therefore set about creating a vehicle that he felt would both display his acting talents and his athletic abilities. He also wished to make a film that he felt was less exploitative in terms of things such as female nudity. The film is also notable for the appearances of two of the most enduringly popular actresses in Hong Kong cinema, Brigitte Lin as Selina and Maggie Cheung as the hero’s girlfriend May. An altogether more wholesome vehicle than The Protector (particularly in its US cut), Police Story also consolidated Chan’s reputation as a fearless stuntman, something that would contribute greatly to his popularity. Police Story contains some of his most famous stunt work including a downhill car chase through a shanty town and a climactic sequence in a shopping mall where Chan smashes through countless panes of glass and slides down a pole through a series of live light bulbs resulting in severe burning to his hands. As he landed he also managed to dislocate his pelvis. As ever in Chan’s films, these ‘stunt accidents’ are recorded and played under the final credits to show audiences just how far Jackie Chan is willing to go to entertain them. -
British Films 1971-1981
Preface This is a reproduction of the original 1983 publication, issued now in the interests of historical research. We have resisted the temptations of hindsight to change, or comment on, the text other than to correct spelling errors. The document therefore represents the period in which it was created, as well as the hard work of former colleagues of the BFI. Researchers will notice that the continuing debate about the definitions as to what constitutes a “British” production was topical, even then, and that criteria being considered in 1983 are still valid. Also note that the Dept of Trade registration scheme ceased in May 1985 and that the Eady Levy was abolished in the same year. Finally, please note that we have included reminders in one or two places to indicate where information could be misleading if taken for current. David Sharp Deputy Head (User Services) BFI National Library August 2005 ISBN: 0 85170 149 3 © BFI Information Services 2005 British Films 1971 – 1981: - back cover text to original 1983 publication. What makes a film British? Is it the source of its finance or the nationality of the production company and/or a certain percentage of its cast and crew? Is it possible to define a British content? These were the questions which had to be addressed in compiling British Films 1971 – 1981. The publication includes commercial features either made and/or released in Britain between 1971 and 1981 and lists them alphabetically and by year of registration (where appropriate). Information given for each film includes production company, studio and/or major location, running time, director and references to trade paper production charts and Monthly Film Bulletin reviews as source of more detailed information. -
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. -
North Gosforth Academy – Year 7 Mandarin Scheme of Work
North Gosforth Academy – Year 7 Mandarin Scheme of Work Module I (10-12 lessons) September/ October: First half term – Cultural and Historical knowledge of China. 1) Have a wide understanding of Chinese culture, beliefs and history through research and teaching. 2) To have a good knowledge of China’s dynastic history. 3) To understand China’s contemporary sporting and political place in the world. 4) Increase cultural awareness and acceptance of differences. Topical vocab Grammar/ patterns Target Language Resources Homework Lesson 1 Population Month / moon (月) Day/sun (日) NA PPT NA Introductory lesson Beliefs and which one comes first. Youtube Video Expectations Culture Teacher’s Experience Food What do they already know about China? What we will be learning? Lesson 2 Emperor NA NA PPT 2 fun facts about any Chinese Chinese dynasties and emperors Dynasty Youtube Song emperor Mao Ze Dong and Qin Shi Huang Di Leader What makes a ‘good’ leader? Lesson 3 Minority NA NA PPT NA Chinese fact file Population Posters stuck around room Finding facts about China Currency Worksheet Border Lesson 4 Characters Dictionary skills NA PPT NA Using a Chinese dictionary Definition Chinese Dictionaries Learning about Chinese Sports Kung Fu / Wushu Lesson 5 Freedom Month / moon (月) Day/sun (日) Month/moon (月) Day/sun (日) PPT NA Homework feedback Power and which one comes first. Youtube Video The Last Emperor Importance Writing the date Lesson 6 Proverb NA Month/moon (月) Day/sun (日) PPT Complete poster for homework Recap date Moral Chinese Proverbs Message Guess and discuss meaning of Chinese proverbs Create Poster of favourite proverb Lesson 7 Signal NA NA PPT NA Chinese hand signals and numbers Hand Signals Sheet Understand and learn the signals for 6-10 in Chinese Lesson 8 Chinese Opera NA Cultural differences PPT Get 5 facts ready on your topic to Chinese film, music and theatre Guzheng Youtube Videos put into your presentations. -
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. -
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.