Clélie :)'s Public Library

07 Apr 09

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
- Remake de The One-Armed Swordsman
- The Blade
- 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.

26 Mar 09

Cinema Taiwan: politics, popularity ... - Google Recherche de Livres

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wuxia crouching tiger flight globalisation

EBSCOhost: Résultat de recherche: wuxia

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wuxia bibliography

c2i: Ressources

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ACTIVITES DES STAGIAIRES - Formations et ressources pour les TICE - IUFM Aix-Marseille

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Des liens concernant les c2i, le b2i, le Clemi, et des pistes de réflexion sur l'utilité des TICE en classe. Et surtout, des liens vers des logiciels gratuits!

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tableau blanc intéractif tbi

25 Mar 09

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

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
- What once were stories purely for entertainment and escape became stories that
  criticized government ideology and the strive for personal freedom
- But as popular literature evolved
- 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

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

Clélie :)'s Public Library

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

Cinema Taiwan: politics, popularity ... - Google Recherche de Livres

EBSCOhost: Résultat de recherche: wuxia

c2i: Ressources

ACTIVITES DES STAGIAIRES - Formations et ressources pour les TICE - IUFM Aix-Marseille

Logiciels, outils et références pour les TICE

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"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

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Reading Rooms - spcnet.tv

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

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

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