Relevant bibliographies by topics / Crouching Tiger

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Crouching Tiger'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Crouching Tiger"

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Aleksei Polukhin. "GAZPROM’S CROUCHING PAPER TIGER." Current Digest of the Post-Soviet Press, The 69, no. 021 (2017): 7. http://dx.doi.org/10.21557/dsp.48945551.

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Sanger, Terence D., and John F. Kalaska. "Crouching tiger, hidden dimensions." Nature Neuroscience 17, no. 3 (2014): 338–40. http://dx.doi.org/10.1038/nn.3663.

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Stewart, Jane Alexander. "Crouching Tiger, Hidden Dragon." San Francisco Jung Institute Library Journal 21, no. 1 (2002): 57–66. http://dx.doi.org/10.1525/jung.1.2002.21.1.57.

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Soans, Santosh T. "Crouching Tiger, Hidden Dragon." Indian Pediatrics 55, no. 1 (2018): 13–15. http://dx.doi.org/10.1007/s13312-018-1219-2.

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Sokol, D. K. "Crouching tiger, hidden surgeon." BMJ 342, jun15 3 (2011): d3591. http://dx.doi.org/10.1136/bmj.d3591.

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Hopkins, Daniel, and Murali Varma. "Crouching tiger, hidden dragon." Journal of Clinical Pathology 71, no. 1 (2017): 92–94. http://dx.doi.org/10.1136/jclinpath-2017-204691.

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JACQUES, MARTIN. "Crouching Tiger, Weakened Eagle." New Perspectives Quarterly 27, no. 2 (2010): 7–9. http://dx.doi.org/10.1111/j.1540-5842.2010.01147.x.

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Block, Peter C. "Crouching Tiger, Lipid Plaque." Catheterization and Cardiovascular Interventions 81, no. 3 (2013): 538–39. http://dx.doi.org/10.1002/ccd.24818.

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Morrison, Hope. "Crouching Tiger (review)." Bulletin of the Center for Children's Books 65, no. 5 (2012): 248. http://dx.doi.org/10.1353/bcc.2012.0026.

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Sabbath, Roberta. "Metahistory: Crouching Tiger, Hidden Dragon." South Asian Review 23, no. 2 (2002): 34–35. http://dx.doi.org/10.1080/02759527.2002.11932280.

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Dissertations / Theses on the topic "Crouching Tiger"

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Li, Lulu, and Linda Malmström. "Crouching Tiger Hidden Success? : A Futurology of the Chinese Stock Market." Thesis, Södertörn University College, School of Business Studies, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-481.

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<p>This Master’s Degree is a futurology that aims to analyse how the Chinese stock market might develop for a period of ten years, i.e. between the years 2005-2015. Since the future never with certainty can be predicted, scenarios will be presented displaying other possible outcomes. Naturally these scenarios are built upon given assumptions which otherwise could be as many as one’s imagination allows. The thought is to present the results as an index so the reader easily can see the possible development and scenarios.</p><p>The methodology used to collect necessary data is through the classical Delphi method, by which one interviews the selected “experts” that have the knowledge needed of the Chinese stock market. Moreover, the authors have collected further information through literature, the Internet, articles, reports and other written sources needed to continue further investigation. Further, the forecast was measured by two steps. The first step was to calculate the value at the start point. The second step was to create tow types of scenarios, added as a frame of the forecast outcomes. To transform the analysis and the scenarios in to a numerical index, a technical measurement of Quasi Monte Carlo Simulation was applied.</p><p>The theories applied when creating the index is foremost the Arbitrage Pricing Theory, which makes it possibly to measure several factors at the same time, including macro economical effects on the stock market.</p><p>According to the result, four factors were identified as the driving forces when finding a balanced economy, which affect the stock exchange: the investment structure; equal standard of living; the state of the financial sector and increased transparency. The result also indicates that the Chinese stock market will not stay in parity with the earlier development. A healthier and more efficient market will occur, due to structural reforms and the expected improvements within the financial sector including the stock exchange.</p><p>It is with great anticipation that the authors await a bright and successful future for the Chinese stock market. A new direction has been settled, although there are many difficult challenges.</p>
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Chen, Kedi, and Jialu Yang. "A good one or a bad one：A comparison of US and Chinese reviews of the film : Crouching Tiger, Hidden Dragon." Thesis, Högskolan Väst, Institutionen för ekonomi och it, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-4403.

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The aim of this thesis is to compare the different Crouching Tiger, Hidden Dragon film reviews from Chinese and American reviewers respectively, and to see how they evaluate and understand the film in the different ways. We use reception theory as our theoretical tool, and divide the film into four themes so that we can compare the different reviews in a more relative way. Meanwhile, we also present some brief ideas to explain the reason why the film gets the different response from both sides. Since our main purpose is to compare the different film reviews, so we choose the comparative design as our research design. The main findings of this thesis show that Chinese and American reviewers do have some distinct evaluations, understandings and views about the film.Besides, culture and aesthetic become the two major factors to influence the response from both sides.
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"Globalizing Chinese martial arts cinema: a case study of Crouching tiger, hidden dragon." 2002. http://library.cuhk.edu.hk/record=b5891252.

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Wu Huaiting.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2002.<br>Includes bibliographical references (leaves 122-130).<br>Abstracts in English and Chinese.<br>Chapter Chapter 1 --- Introduction and Analytical Framework --- p.1<br>Chapter Chapter 2 --- Local Agents and Global Alliance --- p.28<br>Chapter Chapter 3 --- Particularization and Universalization --- p.51<br>Chapter Chapter 4 --- "Distribution, Marketing and Exhibition" --- p.75<br>Chapter Chapter 5 --- The Globalization of a Local Culture --- p.94<br>"Appendix 1 Awards for Crouching Tiger, Hidden Dragon" --- p.104<br>"Appendix 2 Credits for Crouching Tiger, Hidden Dragon" --- p.106<br>Appendix 3 Ang Lee's Features --- p.108<br>Appendix 4 Source List for Database --- p.110<br>"Appendix 5 The Story of Crouching Tiger, Hidden Dragon" --- p.113<br>"Appendix 6 Release dates for Crouching Tiger, Hidden Dragon" --- p.119<br>Bibliography --- p.122
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Huang, Yu-Chieh, and 黃郁傑. "Wuxias/Nuxias: The Subversion of Gender Performativity in Ang Lee's Crouching Tiger, Hidden Dragon." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/10894526761909050580.

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碩士<br>世新大學<br>英語學研究所(含碩專班)<br>97<br>This thesis examines the gender identity and gender performativity in Ang Lee's Crouching Tiger, Hidden Dragon. Being produced and financed by multi-national companies, the film touches upon the multi-cultural issue of gender identity. Crouching Tiger, Hidden Dragon has been recognized as a breakthrough due to its feminist awakening under the Chinese cultural background. However, this thesis uses Judith Butler's gender performativity to propose that there is no essence either to femininity nor masculinity. Gender is constructed by the everyday norms in which the people are constrained. Ang Lee's Crouching Tiger, Hidden Dragon is not just a wuxia pop-culture that fascinates its audiences with the flying, kicking sequences or the romantic love, but beneath this surface, is a series of unraveling the Chinese gender conformity. Chapter One gives an introduction on the background of Crouching Tiger, Hidden Dragon's multi-national and multi-cultural investment and production that leads to concerning the transnational issue of gender identity and subjectivity. Also it will provide explanations of the key terms in the wuxia genre. The second chapter discusses how the norm,Confucianism, in the ambiguous realm of jiang hu, constructs the Chinese gender performance, as well as how the norms restrain the uncharacteristic gendered conducts in order to keep the norms intact. It will also display a series of examples of how Confucianism as a whole holds patriarchal prejudice toward women. Furthermore, Chapter Three focuses on cross-dressing in the history of Chinese society and literature as well as the cross-dressing sequences in the film. Moreover, cross-dressing blurs the boundaries of female and male gender performance. Cross-dressing demonstrates that both femininity and masculinity are just acts of gender performance and there is no essence to them whatsoever. In addition, this chapter will also determine how cross-dressing leads to boundary crossing. Chapter Four looks into the breaking of the norms and the demolishing of the expected gender performance in Crouching Tiger, Hidden Dragon. Not only the nuxias, but as well as the wuxias in the film perform accordingly to the social gender norms. Even though it is an everyday struggle, the film presents the possibility of a change that will lead to the liberation from gender constraints. In conclusion, under its popular genre Crouching Tiger, Hidden Dragon hides the revolutionary concept of gender reformation.
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Liu, Shih-Ying, and 劉世盈. "Exploring Intertextuality between Ang Lee’s “Crouching Tiger, Hidden Dragon”, “Lust, Caution” and the Chinese Novels." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/767k28.

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Hsu, Ching-Wen, and 許靜文. "Chinese Swordplay Movie in the Context of Globalization：An Analysis on “ Crouching Tiger, Hidden Dragon” and “Hero”." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/79856461627717969671.

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碩士<br>淡江大學<br>大眾傳播學系<br>92<br>“Swordplay movie” is one of the most well developed and distinctive genres in the historical context of Chinese cinemas. It is also the most well-known Chinese film genre in the international film market. In the context of globalization, to inquire the past and the present of Chinese swordplay movie would be invaluable to the future of Chinese cinemas. The current research examines on two Chinese swordplay movies, “Crounching Tiger, Hidden Dragon” and “Hero”, which are operated in the global context, to find out the continuity and change of them from the ‘traditional’ swordplay movies and the cultural significance of that transformation. Besides, the creators of these two movies must be influenced by the previous swordplay movies, particularly the works of King Hu, Cheh Cheung and Hark Tsui. An analysis on these two movies has to connect with the discussion on the history and trajectory of ‘traditional’ swordplay movie. By that the research aims to find out how these two movies preserve the traditional elements of swordplay movie, and how they transform in outer and inner forms. The research concludes that the outer forms of these two films are not much different from the ‘traditional’ swordplay movies, except of the martial art actions and aesthetic characters which change a lot because of the fulfillment of finance and high technology under the conditions of globalized operation. On the other hand, the inner forms of the films change essentially in such a global context. In order to consider with both the West and East market in the same time, these two movies have to change on the themes, characters and narratives to make West audience understand and accept them. The ‘traditional’ cultures have to transform and adjust itself in the global context in some ways that may not be positive meaning to the locals.
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Ya-Ching, Chang, and 張雅卿. "Comparison and analysis of Wang Du Lu's Crane iron five-steps and Ang Lee's Crouching Tiger." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/04937139701657775373.

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碩士<br>玄奘大學<br>中國語文學系碩博士班<br>103<br>Martial arts is one of the unique traditional Chinese literature, the article brave hero, uphold the conviction to help the weak, uphold justice for acts of courage which is not afraid of the forces of evil, touched many people in the world, leaving a chapter praise knight moving poems. But after all, not a saint knight, they just ordinary human beings with human emotions, Wang Du Lu's "Crane ── iron" Five Steps to break through the heavy martial arts literature written only traditional martial art, in-depth knight's heart, about love lingering hatred disputes and personal sense of feudal society in the feeling of loneliness, feeling of weakness, detailed and profound practice touched the hearts of readers, but also created a novel situation Xia this faction. Wang Du Lu Lee very much agree with the idea, so he adapted "Crouching Tiger" became the movie, and add their own inner thoughts and unique aesthetic ideas, get support and a number of domestic and foreign audiences trophy certainly establish for the film adaptation of the novel a good model, but also for the martial arts film to create a new direction. This article explores the concept and idea of the characteristics of the two authors of the work, try to analyze the differences and the same two works, in order to understand the text of the novel as a movie, how to capture the essence of the good parts and delete the wrong choice to make two the perfect combination of art for different areas to make monumental works of art.
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Wei-Zhong, Shi, and 施惟中. "Chinese swordplay film heritage from generation to generation：《A touch of zen》and《Crouching Tiger, Hidden Dragon》." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/ne632z.

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碩士<br>玄奘大學<br>資訊傳播研究所<br>99<br>The wuxia pian, also called martial arts film, is a film genre rooted in a unique background of Chinese traditional culture and history. Under the impact of globalization and Hollywood movies, the transition of martial arts film is a significant benchmark for the development of Chinese movie. I choose two martial arts films as representative to see the transition of martial arts film. First one - “A Touch of Zen” was directed by King Hu in 1971. The movie won significant critical acclaim and the Technical Grand Prize award that made itself became the first Chinese action film ever to win a prize at the Cannes Film Festival. Besides, the images of Xia, Dong-chang (a secret police setup run by eunuchs during the Ming Dynasty) had influenced follow-on so much that we can see these elements representation over and over again. The other - “Crouching Tiger, Hidden Dragon” was directed by Ang Lee in 2000. The film won the Academy Award for Best Foreign Language Film and three other Academy Awards. This film led to a boost in popularity of martial arts film in the western world, where they were previously little known. Furthermore, it gave martial arts film which fell out of fever a gleam of hope. This thesis is tend to survey the inherit of martial arts films in four aspects by Nien-tung Lin, a Hong Kong film scholar, who constructed Chinese movie aesthetics. By means of analysis language of cinematography to see the transition of martial arts film from Hu to Lee.
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LIN, MEI-HUI, and 林美惠. "A Study on the Female Images of "Crouching Tiger and Hidden Dragon" and "Assassin 's Nie Yin Niang"." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/52067526345998220525.

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碩士<br>國立屏東大學<br>中國語文學系碩士班<br>105<br>Both Ang Lee’s Crouching Tiger, Hidden Dragon and Hou Hsiao-Hsien’s The Assassin are wuxia films adapted from literary works, different in style but similar in several aspects. Contrary to traditional wuxia films in which males are always main characters, Ang and Hou choose female figures as main characters instead. In addition, they look into the core of the originals which is not clarified and dig out the restraints and oppression of female figures within the social norms. This thesis centers on the major female figures in both films, analyzing the concepts of female images in the films. The features of female figures’ outer images are constructed by appearances and costumes, speech and action, and identity analysis as well. As for the inner qualities, the attitudes of the female figures toward love are dealt with; the inner states of mind of major female characters are further investigated to explore the qualities of their inner states by adopting the relative theories of Jung’s personality types. The images of the female figures constructed by these qualities are used to examine how with their interpretation of classics, contemporary film directors embed the female figures with innovative shapes, different from the originals, with new vision and techniques. In this way, they convey completely different them from the originals. Hou and Lee express the deep concern about female figures with innovative and deconstructive revision strategies and artistic techniques, and at the same time, they show the sympathetic chivalry affection in a clever way. Both films display different modes of adaptation, through which they enrich the originals of mutual benefit and instill new perspectives into wuxia films
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陳慧文. "In Love, with Tragedy:On the Ethical Choice in Ang Lee’s Crouching Tiger, Hidden Dragon,Lust, Caution, and Brokeback Mountain." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/48006960717247286967.

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碩士<br>國立交通大學<br>外國語文學系外國文學與語言學碩士班<br>98<br>My thesis attempts to study the issue encompassing Greek tragedy, ethical choice, and love in Ang Lee’s Crouching Tiger, Hidden Dragon, Lust, Caution and Brokeback Mountain. Beginning with Pushing Hands, Ang Lee’s films ingeniously reach a balance between mainstream cinema and art house cinema. His mainstream strain deals with the element of “conflicts.” From Pushing Hands to Brokeback Mountain, every of these films abide by the formula of conflicts and solutions. More than that, Ang Lee’s success in Hollywood even proves that the conflicting issue he demonstrates is not confined to time and space. He deals with fundamental issue that humankind will confront in life. The struggle, tension, and ethical choice brought about by conflicts compel people to rethink the most basic need of humankind. In light of this, such a tension can only be revealed in its extreme form as tragedy. My thesis begins with the analysis of tragicalness in Greek tragedy, and looks for the common ground between the concept of tragedy and modernity. Applying the essential traits of tragedy to these three films, Ang Lee portrays tragic characters striving under the controversial and fixed environment. Using Gabriela Basterra’s perspective of fate, Apollonian and Dionysiac forces in Nietzsche’s The Birth of Tragedy, and Aristotle’s concept of actions, Ang Lee’s characters in these three films have no place to survive while individual desire must confront collectivity. Li Mu Bai vacillates between the code in jianghu and his personal anxiety; Wang Chia Chih is torn between her duty and a collaborator with whom she cannot but fall in love; Ennis Del Mar and Jack Twist, who are gay lovers, are repressed by their heterosexual society. All of them make a choice which only leads them to death while being involved in a dilemma. In the end, it is clear that the motivation behind their behaviors is love.
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Books on the topic "Crouching Tiger"

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ill, Nascimbene Yan, ed. Crouching tiger. Candlewick Press, 2011.

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Wang, Du Lu, ed. Crouching tiger, hidden dragon. HK Comics Ltd, 2004.

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Seto, Andy. Crouching tiger, hidden dragon. HK Comics, 2003.

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Seto, Andy. Crouching tiger, hidden dragon. ComicsOne, 2002.

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Jones, Gareth P. Crouching tiger, leaping meerkat. Stripes, 2011.

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Kweku, Ampiah, and Naidu Sanusha, eds. Crouching tiger, hidden dragon?: Africa and China. University of KwaZulu-Natal Press, 2008.

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Tan, Dun. Crouching tiger, hidden dragon: Original motion picture soundtrack. Sony Classical, 2000.

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Kung fu cult masters: [from Bruce Lee to Crouching tiger]. Wallflower Press, 2003.

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1954-, Lee Ang, Wang Huiling 1964-, Schamus James, et al., eds. Crouching tiger, hidden dragon: Portrait of the Ang Lee film. Newmarket Press, 2000.

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Crouching dragon, hidden tiger: Can China and India dominate the West? Counterpoint, 2009.

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Book chapters on the topic "Crouching Tiger"

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Chan, Felicia. "Crouching Tiger, Hidden Dragon: Cultural Migrancy and Translatability." In Chinese Films in Focus II. British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92280-2_10.

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Cao, Deborah. "Crouching Tiger Bones, Hidden Elephant Tusks: Wildlife Crimes." In Animals in China. Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137408020_4.

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Mayer-Schönberger, Viktor. "Crouching Tiger, Hidden Dragon: Proxy Battles over Peer-to-Peer Movie Sharing." In Peer-to-Peer Video. Springer New York, 2008. http://dx.doi.org/10.1007/978-0-387-76450-4_12.

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Klincewicz, Krzysztof, Magdalena Marczewska, and Laura Zoboli. "Crouching Tiger in a Transition Economy: Development of Huawei’s Operations in Poland." In Huawei Goes Global. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47579-6_4.

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Artz, Lee. "Crouching Tigers." In Spectacle and Diversity. Routledge, 2021. http://dx.doi.org/10.4324/9781003162452-05.

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Crothers Dilley, Whitney. "Wuxia Narrative and Transnational Chinese Identity in Crouching Tiger, Hidden Dragon." In The Cinema of Ang Lee. Columbia University Press, 2014. http://dx.doi.org/10.7312/columbia/9780231167734.003.0009.

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"Chapter 6. The Transgender Body In Wang Dulu’S Crouching Tiger, Hidden Dragon." In Embodied Modernities. University of Hawaii Press, 2017. http://dx.doi.org/10.1515/9780824862329-007.

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"9. Wuxia Narrative and Transnational Chinese Identity in Crouching Tiger, Hidden Dragon." In The Cinema of Ang Lee. Columbia University Press, 2014. http://dx.doi.org/10.7312/dill16772-011.

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"Chapter Five. Crouching Tiger, Hidden Dragon: India, China, And The Dynamics Of Energy Security." In The Globalization of Energy. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004181120.i-364.39.

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Lau, Dorothy Wai Sim. "YouTubing Zhang Ziyi: Chinese female stardom in fan videos on video-sharing sites." In Chinese Stardom in Participatory Cyberculture. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430333.003.0005.

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This chapter probes the celebrity image of Zhang Ziyi on YouTube, of which users negotiate her debatable appeal, as situated in the politics of cultural nationalism, by sharing and commenting on Zhang’s notoriety on the Web. This chapter outlines the trajectory of Zhang’s star-making: her international fame began with her performance in the martial arts epic Crouching Tiger, Hidden Dragon (2000); her English-speaking flair and her amourous encounters become a point of fan attention as she grows internationally well-known; she spoke broken English in front of press and public; her public personality is dogged by a series of quasi-sex scandals. This chapter, then, explains how these episodes give rise to viewers’ collective sympathy and antipathy of the star’s nationalistic presence. This chapter also postulates that Zhang’s hard work of improving her English, nevertheless, proves her upward mobility in global stardom. Taken together, the YouTube videos entail complexity of the star presence in ethnic, national and linguistic terms in the global visual circuit.
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Conference papers on the topic "Crouching Tiger"

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Heiderich, Mario, Tilman Frosch, Meiko Jensen, and Thorsten Holz. "Crouching tiger - hidden payload." In the 18th ACM conference. ACM Press, 2011. http://dx.doi.org/10.1145/2046707.2046735.

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