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Clélie :)'s List: Wuxia movies and fiction

"Crouching Tiger, Hidden Dragon" by L.S. Kim

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female warriors crouching tiger on 2009-03-25
Fascinating Fascism | Article from Film International | HighBeam Research

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hero fascism article tapper on 2009-03-25
'Hero': An Ending That Falls on Its Own Sword (washingtonpost.com)

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hero ending wind review on 2009-03-25
House of Flying Daggers (2004): Reviews

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house flying daggers viewers on 2009-03-25
IGN Boards - House of Flying Daggers

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forum house of the flying daggers on 2009-03-25
Bright Lights Film Journal | Crouching Tiger, Hidden Dragon

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crouching tiger review on 2009-03-25
-:| CHINA TODAY |:-

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zhang zimou criticism on 2009-03-25
- ZHANG Yimou's artistic life is over,” was Hong Kong movie director Zhu Yanping’s
  unhesitating comment after watching his distinguished peer’s latest offering,
  House of Flying Daggers
- nonetheless a huge domestic box office hit
- 31 more annotations...
- - they say it fails to reflect the era’s most prominent characteristics
  - its main characters appear two-dimensional -- little more than marionettes
    manipulated by their dogmatic director
  - kungfu sequences are tame
  - flame of passion in this so-called lovers’ tragedy has also failed to ignite the
    romantic imagination of its viewers
  - On such a lavish budget any director could make a hit movie.”
  - criticized for employing cinematographic “tricks” that substitute technique for
    true artistry
  - use of red lanterns as a motif instantly recognizable to both his Eastern and
    Western audiences
  - Chinese civilization as over simplified
  - his work mirrors his own view rather than offering a window on China through
    which the world may make its own observations.
  - Zhang Yimou’s success is directly attributable to his Western audiences
  - “The Western perception of the East as a romantically mysterious and exotic land
    is its own invention
  - Those of Zhang Yimou’s films set in former times depicting Chinese social mores
    that are long since defunct endorse this fond Western fantasy
  - to the Chinese viewer, they distort China’s realities
  - he permits no spontaneity on the part of the actors
  - in the early 1980s that Zhang Yimou started out as one of the now famous
    fifth-generation directors
  - 1984 film One and Eight
  - He shot from obscure angles, and positioned actors and actresses at the side,
    rather than center of a shot to heighten dramatic effect.
  - focused on the essential elements of sound, light and the artistic quality of
    projected images in the interests of undiluted realism
  - particularly distinctive is his use of color
  - In Hero (2002) color filters were used to distinguish the film’s four sectors
  - Others might say it is his way of manipulating Western audiences into believing
    they are watching a truly Oriental spectacle
  - To Live (1993),
  - was banned
  - Zhang appears subsequently to have suspended his pursuit of art and ideology and
    changed his direction to commercial films
  - first film in this genre was Shanghai Triad (1995).
  - films of the 1980s were made in state-owned film studios under the auspices of
    state-funded artistic exploration
  - Upon reform of their ownership, state allocated funds became commercial
    investments
  - infallible ingredients of violence, nostalgia and a lone sex goddess guaranteed
    to bring commercial success
  - One of Zhang Yimou’s main goals is to recapture the Chinese-made film market
    share,” says Zhang Weiping, producer of House of Flying Daggers
  - he should pay more attention to his ideological orientation and bear in mind the
    social influence of his works
  - express his unique insight into life in his works
New Updates

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politics wuxia censorship on 2009-03-25
- this genre has consistently amazed audiences with its special effects,
  choreographed fight scenes, and melodramatic stories
- The wuxia genre is actually a sub-genre to the American action/adventure film.
  US movies were imported by China in the early 1900's
- 28 more annotations...
- - Not until the 1920's the Chinese studios create their own films
  - Chinese viewers also grew tired of Hollywood’s inaccurate portrayals of their
    culture and society.
  - The Burning of the Red Lotus Temple
  - was released in 1928
  - wuxia never became a solid genre due to the Chinese government’s bans on films
    that they thought harmed the mentality of its audience
  - At the early stages
  - more worried about a Japanese invasion
  - But as popular literature evolved
  - What once were stories purely for entertainment and escape became stories that
    criticized government ideology and the strive for personal freedom
  - difficult to adjust to modernization. Citizens blamed Confucianism on their
    inability to move forward
  - to keep their audience, they had to create stories that would appeal to the
    people. The newly evolved wuxia stories made it seem ok for ordinary people to
    criticize a form of government they disagreed with
  - Communists were outraged and began to label the wuxia genre as unprogressive
  - competition between the studios and themselves about who were the authentic
    representatives of China
  - Japanese aggression
  - unify under their government
  - Interest in wuxia flicks started to wane
  - put a ban films that they felt threatened political unity and contained
    superstition and religious subjects
  - around the 1920's and 1930's
  - the genre’s film conventions helped it to avoid disappearing in theaters forever
  - They are wanderers in search of adventure living on a set of morals apart from
    society. The xia believed in honor and justice, not personal gain
  - While the Chinese lower class saw the xia as heroes, elitists viewed them as
    rebels who only cared about their physical abilities and disregarded family
    values and education. Elitists felt threatened by xia’s because they were often
    the cause of the xia’s anger.
  - The theme of "good triumphs over evil, but with a price" remained consistent
    through the history of wuxia films
  - Plots often consisted of a struggle between social loyalty and personal desire
  - almost always ends in a tragic death
  - Films were adapted mostly from the stories written during the Tang dynasty
    around ninth century AD.
  - Brotherhood of the Wolf, directed by Christophe Gans, was released in
    French theaters. Its fight scenes and cinematography resembled many of the past
    wuxia movies
  - Right now wuxia films aren’t being mass produced
  - The wuxia genre have stepped aside to the romantic comedies that are becoming
    more popular amongst the Chinese teenagers
Zhang Ziyi CSC: Wuxia Fiction: A World of Martial Arts

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wuxia society jianghu on 2009-03-25
Zhang Ziyi CSC: Wuxia Fiction: Translational Migration of Martial Arts Fiction

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wuxia fiction translation on 2009-03-25
Reading Rooms - spcnet.tv

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wuxia fiction on 2009-03-25
Zhang Ziyi CSC: Wuxia Fiction: The Wuxia According To Ang Lee

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ang lee crouching tiger wuxia on 2009-03-25
- the Wuxia is not unlike the familiar Western hero - the lone cowboy
  riding into town to exact justice and right wrongs. The world of the
  Wuxia is different from that of society.
- A constant theme of the Wuxia novels is that of surpassing your abilities
  through practicing your martial art. You keep doing this, and fulfill the final
  achievement, which is transcendence.
- 5 more annotations...
- - Because you are pulled apart by tension, which comes from external emotions,
    complex relationships -- all your strength goes in different directions
  - Li Mu Bai practices the Wudang style of martial arts.
  - inner strength
  - Just as everyone has the Buddha within themselves, they also have a tremendous
    power - the crouching tiger, ready to leap out.
  - stories like Crouching Tiger have been generally filmed in a
    particularly Eastern cinematic style. I have also worked in the very different
    Western cinematic tradition. Rather than choose between these two, I let the
    creative tension between these two styles became an important part of the making
    of Crouching Tiger.
Zhang Ziyi CSC: Crouching Tiger, Hidden Dragon: Wuxia Fiction

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wuxia articles fiction on 2009-03-25
Intelligence Online - HELLO TAI TAI

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on 2009-03-25
- Characters fly in Crouching Tiger, Hidden Dragon, often with
  breathtaking poetic beauty. They do so not just to impress audiences and
  celebrate physical grace. Defying gravity is a stand-in for spiritual striving.
  A mastery of the self can, in certain cases, lead to an individual connecting
  with the laws of nature. There is, in short, both a tradition behind the flying,
  and a philosophy.
Everybody is kung fu fighting - Movie opinions- msnbc.com

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wuxia on 2009-03-22
Sam Raimi to remake 'House of Flying Daggers?'

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wuxia on 2009-03-21
Scope | Issue 8| Articles

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matrix wuxia subversion on 2009-03-21
Wu xia pian and the Asian woman warrior | Traffic | Find Articles at BNET

Article

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wuxia pian female warriors on 2009-03-21
L'Oeil électrique #26 | Cinéma / Wu xia pian, le western chinois

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wuxia pian westerns historique on 2009-04-07
- années 60,
- The One-Armed Swordsman
- 48 more annotations...
- - envolées masochistes
  - The Return Of The One-Armed Swordsman
  - héros seul contre 100 combattants et plus, une manière d'exacerber sa grandeur
    d'âme par le nombre qui lui fait face (une idée que le film de kung-fu reprendra
    quelques années plus tard avec bonheur, chez Bruce Lee
  - L'âge d'or sera de courte durée : il s'achève dès le début des années 70, balayé
    par la vague kung-fu
  - A la fin des années 70 toutefois, la Nouvelle Vague, emmenée par Tsui Hark,
    revitalise le genre
  - The Butterfly Murders
  - relecture moderne du genre
  - John Woo
  - Last Hurrah For Chivalry
  - s'autorisant à bouleverser au beau milieu du film l'ordonnancement des bons et
    des méchants ! L'ambivalence entre le bien et le mal, sujet central de toute
    l'œuvre de Woo, est ainsi déjà présente dans ce film
  - pas un grand succès
  - Tsui Hark opère alors un recentrage plus commercial
  - Zu, Warriors of the Magic Mountain
  - Bien qu'échec public à sa sortie, Zu n'en deviendra pas moins culte
  - A Chinese Ghost Story
  - Le succès est mondial
  - Premier long-métrage hongkongais à utiliser les effets spéciaux
  - A partir de 1986
  - le néo-polar, ou polar urbain
  - de triades réglant leurs comptes au cours de grandes scènes de gunfight
  - A Better Tomorrow ressemble fort à un wu xia pian
  - transposition dans l'époque actuelle des codes du wu xia pian
    traditionnel
  - au début des années 90. Tsui Hark (encore lui !) lance la série Once Upon A
    Time In China
  - mélange de kung-fu et de combat au sabre
  - Wong Kar-wai
  - Ashes Of Time
  - The Blade
  - Remake de The One-Armed Swordsman
  - tellement radical qu'il paraît difficile de faire désormais quelque chose d'un
    tant soit peu original
  - Tigre et dragon d'Ang Lee paraît bien terne. Le fait qu'il soit sorti
    plusieurs années après eux souligne encore son anachronisme et son côté
    rétrograde
  - Stormriders d'Andrew Law, sorti en 1998, qui se veut probablement le Zu
    des années
  - l'esthétique jeu vidéo
  - malgré le succès occidental
  - dans le creux de la vague à Hongkong
  - The Blade a été un échec commercial, et la suite de Zu, The Legend of
    Zu, sortie l'an dernier, n'a guère attiré les foules
  - Collectif : L'Asie à Hollywood, 2001, Cahiers du cinéma - Essais
  - Kong HK Orient Extreme Cinema, n° 9, décembre 1998, numéro spécial
    Chevalerie chinoise
  - Peut-on voir une influence du western hollywoodien dans les films de King Hu
  - les cinéastes ne s'intéressent plus vraiment à l'Histoire chinoise ; les
    costumes comme les histoires sont plus "farfelus" et ne se rattachent plus à la
    tradition d'une dynastie particulière
  - valeur de témoignage historique.
  - dans la société hongkongaise des années 60
  - La femme était à un niveau très inférieur à celui de l'homme et considérée
    essentiellement pour sa beauté, mais à la façon d'un vase ! Au cinéma, un
    personnage de femme chevalière n'était pas très gênant, car, dans un film, la
    femme ne sortait pas de ce statut d'objet esthétique
  - Ang Lee, le réalisateur du film, tourne des plans assez longs. La durée sur
    laquelle vous devez effectuer des figures de combat est ainsi prolongée d'autant
    et il faut les reproduire plusieurs fois car Ang tourne un peu à la manière
    américaine, en multipliant les plans avec des cadrages différents
  - la diffusion du film en Chine a souffert du piratage
  - de nombreuses scènes se passent de nuit, et sur une version mal copiée, le
    résultat est déplorable. Les Chinois ont beaucoup critiqué le film, mais
    beaucoup n'ont pas eu l'occasion de le voir dans une salle de cinéma
  - Cela dit, il est évident que pour le public de Hongkong, il n'y a pas vraiment
    de grandes surprises dans ce film
  - jugé trop lent
  - Pour le public occidental, par contre, le film a pu apparaître comme quelque
    chose de novateur.
Indigenizing Hollywood: Local Uses of Global Styles

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abstract asie hollywood on 2009-03-21

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Clélie :)

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Updated on 2009-03-26
Created on 2009-03-26

Category: Entertainment & Arts

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Clélie :)'s List: Wuxia movies and fiction

"Crouching Tiger, Hidden Dragon" by L.S. Kim

Fascinating Fascism | Article from Film International | HighBeam Research

'Hero': An Ending That Falls on Its Own Sword (washingtonpost.com)

House of Flying Daggers (2004): Reviews

IGN Boards - House of Flying Daggers

Bright Lights Film Journal | Crouching Tiger, Hidden Dragon

-:| CHINA TODAY |:-

New Updates

Zhang Ziyi CSC: Wuxia Fiction: A World of Martial Arts

Zhang Ziyi CSC: Wuxia Fiction: Translational Migration of Martial Arts Fiction

Reading Rooms - spcnet.tv

Zhang Ziyi CSC: Wuxia Fiction: The Wuxia According To Ang Lee

Zhang Ziyi CSC: Crouching Tiger, Hidden Dragon: Wuxia Fiction

Intelligence Online - HELLO TAI TAI

Everybody is kung fu fighting - Movie opinions- msnbc.com

Sam Raimi to remake 'House of Flying Daggers?'

Scope | Issue 8| Articles

Wu xia pian and the Asian woman warrior | Traffic | Find Articles at BNET

L'Oeil électrique #26 | Cinéma / Wu xia pian, le western chinois

Indigenizing Hollywood: Local Uses of Global Styles

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