Relevant bibliographies by topics / Martial arts films

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

Academic literature on the topic 'Martial arts films'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Martial arts films"

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Ma, Yanli. "The Evolution of Chinese Cinema in the New Century: From Martial Arts Classics to New Mainstream Blockbusters." Journal of Research in Social Science and Humanities 2, no. 10 (October 2023): 37–42. http://dx.doi.org/10.56397/jrssh.2023.10.05.

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This study explores the evolution of the new century film from martial arts to the new mainstream film blockbuster era. Firstly, the article reviews the heyday of martial arts films and their influence on film industry and culture. Then, it studies the transformation and evolution of martial arts films in the new century and the background of the rise of new mainstream films in this period. Subsequently, the article analyzes the characteristics and value orientation of the new mainstream blockbuster, as well as the fusion and difference between martial arts and the new mainstream. Furthermore, the audience and market performance of the two film styles and the influence of technological progress on martial arts and new mainstream films are studied. Finally, the article discusses the roles and challenges of directors and producers in the transformation of film style. This research reveals the evolution and diversification of the film industry in the new century, as well as the interaction and development between different film genres.
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Ye, Guo. "Canton Kung Fu: The Culture of Guangdong Martial Arts." SAGE Open 9, no. 3 (July 2019): 215824401986145. http://dx.doi.org/10.1177/2158244019861459.

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During the 20th century, a version of Kung Fu from the Guangdong region in Southern China became more widely known abroad as a result of Chinese migration to the West, as well as its exposure through popular culture, including the films of Bruce Lee. This article analyses the culture of Guangdong martial arts in the context of this growing exposure. A variety of martial arts sects and associated cultural expressions in other fields give a picture of the traditional martial arts culture in Guangdong. Underpinning these physical manifestations, Guangdong martial arts have derived their ideologies from traditional Chinese philosophy. The dynamic social system supporting Guangdong martial arts provided a platform ensuring that these cultural symbols and values could be created and maintained and exported over several centuries.
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OKUNO, Shii. "Beyond Martial Arts in Hong Kong Films." Japanese Journal of Human Geography 56, no. 6 (2004): 615–32. http://dx.doi.org/10.4200/jjhg1948.56.615.

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Yiu Fai Chow. "Martial Arts Films and Dutch–Chinese Masculinities." China Information 22, no. 2 (July 2008): 331–59. http://dx.doi.org/10.1177/0920203x08091549.

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Song, Arum. "“Transnational Korean” Martial Arts Films Created by (Possible) Foreign Capital: Censorship and Martial Arts Films from 1966 - 1973." Film Studies 94 (December 31, 2022): 169–205. http://dx.doi.org/10.17947/fs.2022.12.94.169.

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Bowman, Paul. "Game of text: Bruce Lee’s media legacies." Global Media and China 4, no. 3 (September 2019): 325–38. http://dx.doi.org/10.1177/2059436419869565.

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This article situates Bruce Lee at the heart of the emergence of ‘martial arts’. It argues that the notion ‘martial arts’, as we now know it, is a discursive entity that emerged in the wake of media texts, and that the influence of Bruce Lee films of the early 1970s was both seminal and structuring of ‘martial arts’, in ways that continue to be felt. Using the media theory proposition that a limited range of ‘key visuals’ structure the aesthetic terrain of the discursive entity ‘martial arts’, the article assesses the place, role and status of images of Bruce Lee as they work intertextually across a wide range of media texts. In so doing, the article demonstrates the enduring media legacy of Bruce Lee – one that has always overflowed the media realm and influenced the lived, embodied lifestyles of innumerable people the world over, who have seen Bruce Lee and other martial arts texts and gone on to study Chinese and Asian martial arts because of them.
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Deng, Gaosheng. "Rendering ECR in Subtitles: A Case Study of the Traditional Chinese Martial Arts Films." Asian Culture and History 11, no. 1 (December 31, 2018): 31. http://dx.doi.org/10.5539/ach.v11n1p31.

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The traditional Chinese martial arts film is a special type of mass media which reflects the Chinese culture, and it comes into vogue due to the popularity of martial arts fiction. For foreign audiences, watching the traditional Chinese martial arts film, they rely heavily on subtitles to understand the plot and the specific Chinese culture. However, it is not easy to produce readable subtitles. Jan Pedersen, defines the specific cultural terms as “Extralinguistic Cultural References (ECR)”, and puts forward a systematic theory. In this paper, the theory of Pedersen is been used to render ECRs in subtitles of the traditional Chinese martial arts films. The purpose of this paper is to attract people’s attention to the studies of translation of ECRs of subtitles, and to contribute a small effort to the “going out” initiative of Chinese culture.
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Bowman, Paul. "Fighting Talk: Martial Arts Discourse in Mainstream Films." JOMEC Journal, no. 13 (February 4, 2019): 30. http://dx.doi.org/10.18573/jomec.186.

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Wong, Wayne. "Beyond the cinematic: Reinventing Chinese martial arts through new media art practices." Journal of Contemporary Chinese Art 6, no. 2 (September 1, 2019): 367–91. http://dx.doi.org/10.1386/jcca_00012_1.

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Abstract This article argues that the reinvention of Chinese martial arts through new media art practices reveals new aesthetic potentialities not readily available in the conventional cinematic medium. While martial arts cinema has captivated the global audience with visual and visceral excitements, most notably through the new-style wuxia films of the 1960s and the kung fu craze of the 1970s, it focuses on representational strategies characteristic of imaginative irreversibility and passive immersivity. The former refers to the rigid segregation of reality and fantasy that discourages the possibility of reversal, whereas the latter describes the immersive wuxia and kung fu spectacles as a disembodied experience, contrary to the core of martial arts learning and practice. To address the above issues, martial arts-inspired new media artworks, such as susuan pui san lok's RoCH Fans & Legends (2015) and Jeffery Shaw, Sarah Kenderdine and Hing Chao's Lingnan Hung Kuen Across the Century (2017), look for alternative approaches to represent martial arts imaginations for the goals of preserving an intangible cultural heritage and promoting an intellectual reflexivity. In so doing, not only do the new media artworks help to reposition Chinese martial arts as an everyday art form via conventional art spaces worldwide through the transnational and transregional flow of cinema, but they also establish the subtle connection between traditional martial art and contemporary art in the context of globalization.
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Feng, Lin. "Daoism and Diaspora in Post-millennial Taiwanese Martial Arts Films." JCMS: Journal of Cinema and Media Studies 63, no. 5 (2023): 219–42. http://dx.doi.org/10.1353/cj.2023.a933155.

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ABSTRACT: Martial arts films create cinematic universes that encourage audiences to imagine Chinese culture and history. Through analyzing Ang Lee’s Wohu Canglong ( Crouching Tiger, Hidden Dragon , 2000) and Hou Hsiao-hsien’s Cike Nie Yinniang ( The Assassin , 2015), I argue that Taiwanese martial arts films have shifted away from the genre’s conventional narrative of the Confucian code of honor in the 1960s and 1970s to Daoist’s wuwei (no action, no achievement) in the new millennium. Engaging with Taiwan’s political context in relation to the Sinophone, this article goes beyond the genre study and explicates that Daoism offers Taiwan’s second-generation waishengren (people from foreign provinces) filmmakers a liminal space to search for their own diasporic identity in an ever-changing society.
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Dissertations / Theses on the topic "Martial arts films"

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Castillo, Gilbert Gerard. "Gender, Identity, and Influence: Hong Kong Martial Arts Films." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3354/.

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This project is an examination of the Hong Kong film industry, focusing on the years leading up to the handover of Hong Kong to communist China. The influence of classical Chinese culture on gender representation in martial arts films is examined in order to formulate an understanding of how these films use gender issues to negotiate a sense of cultural identity in the face of unprecedented political change. In particular, the films of Hong Kong action stars Michelle Yeoh and Brigitte Lin are studied within a feminist and cultural studies framework for indications of identity formation through the highlighting of gender issues.
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Lau, Wai-sim, and 劉慧嬋. "Chinese martial arts stardom in participatory cyberculture." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50533824.

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The participatory cyberspace, epitomized by the concept of Web 2.0, has become a key venue of Chinese stardom in the post-cinema era.Web 2.0 invites its users to contribute to the content through an architecture of participation. Fans can search, poach, edit, and post filmic and publicity materials about stars, formulating seamless, collaborative reworkings of the star image and generating a new star-fan dynamic. At the crossroads of participatory cyberspace and cinema, transnational Chinese movie stars call our attention to the critical concern of Chineseness. In recent years, a number of Chinese movie stars have attained prominent presence in the global cinematic arena. These acting talents, who are either identified as martial arts performers or known for their performances in martial arts films, won global acclaim as a result of the worldwide reception and esteem for Hong Kong action films and Fifth Generation directors’ films from mainland China. As these stars begin to engineer personae stretching beyond their ethnic identities for the global setting, their stardom engenders discourses of ethnicity and cosmopolitanism.What does it mean to call these stars “Chinese” in the global cyber setting? How do their fans interact to reshape their star personae on the Web? How can one approach and understand “Chineseness” within cyber fan discourse? All these questions point to a central problem of how to conceptualize Chineseness in participatory cyberspace. My agenda in this study is to investigate Chinese movie stardom as a web-based phenomenon by establishing a new theoretical framework for considering Chineseness in participatory cyberspace. I have created a set of four analytical matrixes, each examining a particular Chinese star through a specific fan-based practice on a specific participatory site: vidding Donnie Yen and critiquing Zhang Ziyi on YouTube; photo-sharing about Jackie Chan on Flickr; “friending” Jet Li on Facebook; and discussing Takeshi Kaneshiro on fan forums. Through close investigation of these five Chinese stars, I demonstrate that the cyber setting enables collaborative fan reworkings of star texts and multiple directionality of approaching Chineseness. Cyber fans produce intertextual, multi-faceted star personae, different from traditional film personae whose meanings are anchored in a rigid established representational framework. Through the relentless scrutiny, quotation, manipulation self-affiliation by fans enabled by cyber technology, Chineseness becomes an utterly illusive and indefinable entity, a new form of signification whose meaning is always changing. This unstable, hybrid Chineseness challenges the notion of a star’s given ethnicity, redefining the archetypal martial arts body in unpredictable, manifold and provocative terms for the cyber era. With the aim of advancing the critical theorization of Chineseness, this study unfolds and analyzes the dynamics of the vital relationship between Chinese stardom, web technologies, and fan discourse. It also serves as a timely response to the challenges posed by cyber culture for the disciplines of cinema and cultural studies, in light of the proliferating yet inadequate current efforts in this field.
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Comparative Literature
Doctoral
Doctor of Philosophy
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Liu, Zhan. "Communicating race and culture in media appropriating the Asian in American martial arts films /." Pullman, Wash. : Washington State University, 2008. http://www.dissertations.wsu.edu/Thesis/Fall2008/l_zhan_091108.pdf.

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Thesis (M.A. in communication)--Washington State University, December 2008.
Title from PDF title page (viewed on Dec. 31, 2008). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 72-85).
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Thomas, Suzanne Lynne. "Heroes, assassins, mobsters and murderers : martial arts TV and the popular Chinese imagination in the PRC /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3112189.

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Meachem, Dhugal. "Virtual worlds, non humans and power beams : a neoformalist analysis of the digital animation aesthetic in Hong Kong's mythical martial arts films." HKBU Institutional Repository, 2003. http://repository.hkbu.edu.hk/etd_ra/513.

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Huang, Ying. "Multiple interplays : Americans' perceptions of two Chinese Wuxia movies /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1203584091&sid=4&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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Wang, Shuang, and 王爽. "Beautified violence: music and slow motion inThe banquet (2006)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46933001.

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Wong, King-tung, and 黃競東. "Reinventing the real: transfigurations of cinematic kung fu in the 21st century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47849885.

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Kung fu is a cinematic genre investing on the discourse of the “real”. From Kwan Tak Hing, Bruce Lee, Jacky Chan, Jet Li to Donnie Yen, cinematic representations of kung fu are inextricably intertwined with realism – real techniques, real fighting and real body. This paper is a theoretical reflection of “real kung fu” as a cultural imaginary and its transfiguration since the 1950s. The discussion will focus on recent developments of the genre in two major industries – digitalization of kung fu in Hollywood and recent return of kung fu masters in Hong Kong through coproduction. Through a parallel analysis of kung fu productions in a global context, this project outlines and predicts possible reinventions of the genre in the first decade of the 21st century. On the one hand, the notion of “real kung fu” is reinvented by digital technology. By applying Jean Baudrillard’s idea of “simulacra and simulation” to the context of kung fu cinema, Leon Hunt’s tripartite scheme of authenticity and Edward Said’s Orientalist discourse are (de/re)constructed in an age of digital production. Through a scrutiny of The Matrix (1999) and Kung Fu Panda (2008), I will demonstrate that the convergence of digital cinema and digital gaming creates a new spectatorship that redefines kung fu with an alternative understanding of body, time and space. On the other hand, the Ip Man trilogy (2008-2010) and Legend of the Fist: The Return of Chen Zhen (2010) show that there is a possible return of kung fu masters in local martial arts co-productions. Instead of a nostalgic return to the established genre in the 1970s, these realist kung fu films reinvent the genre by synthesizing different paradigms of realist styles and renegotiating the longstanding difficult relationship between nationalism and modernity.
published_or_final_version
Comparative Literature
Master
Master of Philosophy
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Willis, Andrew. "Violent exchanges : genre, national cinemas and the politics of popular films : case studies in Spanish horror and American martial arts cinema." Thesis, University of Nottingham, 2007. http://eprints.nottingham.ac.uk/13908/.

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This thesis argues that in order to understand the way in which films work one has to place them into a variety of contexts. As well as those of production, these include the historical and culturally specific moments of their creation and consumption. In order to explore how these contexts impact upon the textual construction of individual and groups of films, and our potential understanding of them, this study offers two contrasting case studies of critically neglected areas: Spanish horror cinema since the late-1960s; and US martial arts films since the late 1980s. The first places a range of horror films into very particular historical moments: the Spain of the Franco regime; the transition to democracy in the late 1970s and early 1980s; and the contemporary, increasingly trans-national, Spanish film industry. Each chapter in this section looks in detail at how the shifts and changes in Spanish society, the critical reception of cinema, and production trends, has impacted upon the texts that have appeared on increasingly international screens. The second case study considers the shifts and changes in the production of US martial arts films. It discusses the problem of defining an area of filmmaking that is more commonly associated with a different filmmaking tradition, in a different national cinema. Each chapter here investigates the ways in which 'martial arts movies' operate in strikingly different production contexts. In particular, it contrasts films made within the US mainstream or Hollywood cinema, and the exploitation world that functions on its fringes. Finally, these case studies suggest that a fuller understanding of these works can only be achieved by utilising a number of approaches, both textual and contextual; creating an approach which Douglas Kellner has described as 'multiperspectival'.
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Walters, Mark. "Hong Kong New Wave wuxia pian films and their contribution to Hong Kong's national agency during the 1980s and early 1990s." Auburn, Ala., 2007. http://repo.lib.auburn.edu/07M%20Theses/WALTERS_MARK_59.pdf.

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Books on the topic "Martial arts films"

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Ollhoff, Jim. Martial arts movies. Edina, Minn: ABDO Pub. Co., 2008.

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Teo, Stephen. Chinese martial arts cinema: The Wuxia tradition. Edinburgh: Edinburgh University Press, 2009.

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Karen, Palmer, and Meyers Richard 1953-, eds. The encyclopedia of martial arts movies. Lanham, Md: Scarecrow Press, 2003.

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1953-, Meyers Richard, ed. From Bruce Lee to the Ninjas: Martial arts movies. Secaucus, N.J: Citadel Press, 1991.

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Jiang, Binghan, Nanhong Guo, and Nanxi Yan. Tie san jiao: Triangular duel. Xianggang: Mei ya lei she ying die you xian gong si, 2002.

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Hong Kong (China). Provisional Urban Council. and Xianggang dian ying zi liao guan., eds. The making of martial arts films: As told by filmmakers and stars. Hong Kong: Provisional Urban Council, 1999.

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Wuxiaxiaowangzi. Guang ying hua jiang hu: Hua yu wu xia dian ying shi. Nanjing Shi: Jiangsu feng huang wen yi chu ban she, 2019.

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Liu, Yuqi. Xiang xiang de jiu shu: Xianggang wu xia dian ying de xu shi yan bian yu wen hua zhuan xing (1949-1997). Beijing Shi: Guang ming ri bao chu ban she, 2020.

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Ross, David-Dorian. Tai Chi fitness workouts. Chantilly, Virginia: The Teaching Company, 2018.

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Chen, Ya-chen. Women in Chinese martial arts films of the new millennium: Narrative analyses and gender politics. Lanham: Lexington Books, 2012.

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Book chapters on the topic "Martial arts films"

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Trausch, Tim. "(Vor)Geschichte des chinesischsprachigen Martial-Arts-Films." In Affekt und Zitat, 47–100. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-19434-5_2.

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Farquhar, Mary. "A Touch of Zen: Action in Martial Arts Movies." In Chinese Films in Focus II, 219–26. London: British Film Institute, 2008. http://dx.doi.org/10.1007/978-1-349-92280-2_29.

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Ismar, Madia Patra, Pudentia Maria Purenti S. S., and Syahrial. "Minangkabau Silek Harimau: Evolving Oral Traditions, Performance, and Choreography." In Trajectories of Memory, 77–95. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-1995-6_5.

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AbstractIn 2010, an Indonesian movie titled Merantau won Best Film Award at ACTIONFEST, a festival dedicated to action films from around the world. Directed by the American Gareth Evans, this film presented a storyline based on the travels and conflicts encountered by a Minangkabau youth in his journey away from his home village in West Sumatra. The action scenes in the film used movements from silat, the traditional martial arts of West Sumatra, Indonesia. The leading actor, Iko Uwais, then an Indonesian unknown, became a star and went on to earn lead roles in Raid I and Raid II, both films by the same director, that also used silat movements. The action scenes in Merantau that drew so much attention were the fighting sequences choreographed following the motifs of traditional Minangkabau silat harimau (“tiger-style” fighting) movements. This genre was as yet unknown outside the martial arts scene because most of the choreography of fighting scenes in the film is based on Chinese or Japanese martial arts styles. Breaking away from that convention, the choreographer for the scenes in Merantau was Edwel Yusri Datuk Rajo Gampo Alam, a master and teacher of traditional tiger-style silat (or silek harimau) originating in West Sumatra. In the Minangkabau language, harimau means “tiger.” The word is also used in Bahasa Indonesia.
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Clini, Clelia. "Is Everybody Kung Fu Fighting? Indian Popular Cinema and Martial Arts Films." In South and East Asian Cinemas Across Borders, 75–89. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003141563-6.

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Clini, Clelia. "Is Everybody Kung Fu Fighting? Indian Popular Cinema and Martial Arts Films." In South and East Asian Cinemas Across Borders, 75–89. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003141563-6.

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Zhao, Hao. "Against-Diaspora: The Cultural Identity of Wong Kar-Wai's Martial Arts Films." In Proceedings of the 2022 4th International Conference on Literature, Art and Human Development (ICLAHD 2022), 1267–73. Paris: Atlantis Press SARL, 2023. http://dx.doi.org/10.2991/978-2-494069-97-8_162.

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Chen, Yan. "Cultural Default and Transmission of Martial Arts Imagery: The Translation of Cultural-Loaded Words in the Grandmaster." In Translation Studies on Chinese Films and TV Shows, 93–136. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-6000-0_4.

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Bowman, Paul. "The Martial Arts Supremacy." In A Companion to the Action Film, 227–40. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119100744.ch11.

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Lee, Sangjoon. "Martial Arts Craze in Korea: Cultural Translation of Martial Arts Film and Literature in the 1960s." In East Asian Cinema and Cultural Heritage, 173–95. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230339507_8.

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Wang, Shuang. "Operatic Film Songs and Cross-Media Composing in Cantonese Martial Arts Cinema." In From Stage to Screen, 41–52. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-7037-5_3.

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Conference papers on the topic "Martial arts films"

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Zhou, Luoxuan, Baojun Chu, and Suyalema Huo. "Research on the Ethicalized Effect of Martial Arts Elements on the Violence Aesthetics in Chinese Films." In The 6th International Conference on Arts, Design and Contemporary Education (ICADCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210106.048.

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Notariano Belizário, Pedro, and João Carlos Massarolo. "Long-form narrative design of streaming." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.68.

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This article’s proposal is to relate script studies and new spectator consumption habits studies. In essence, we will explain the binge-wathching phenomenon by analysing the narritive design of complex series, identifying the specific qualities that promote the spectator's binge-wathching in the macro-structuring of this format. In a general sense, we will make our analysis by comparing the narrative structures of series and films, pointing out the differences between the narrative designs of these two formats that make it impossible for a series to be compared to an extended film. Basically, we try to disprove the idea that “as habits related to the way of watching TV series evolve, they will tend to be increasingly conceived and written as a extended film” (KALLAS , 2016, p. 16). From this statement made by Kallas, intertwining concepts of consumption habits with those of scriptwriting, some questions arise: If a series is like an extended film, why do we complain about the length of exended films, like Martin Scorsese's The Irishman with its dull 3.5 hours in length, while managing to watch whole series containing at least twice as many hours? If a series is like an extended film, why is it split into episodes even though these can be watched in sequence - binge-watching? If a series is like an extended film, why does it need the collaborative elaboration of a writers room instead of being conceived by a single author? The structural comparison between films and series is not impossible, but we will show how problematic it is, or at least how harmful for the analysis of complex series as an autonomous format, with its own notions of elaboration and structuring. In that sense, unlike films, series are built from a structure of repetition of acts within its structure – the episodes generally have 3 to 5 acts each. This results in a greater narrative density of the series, since acts compressed in time lead to a faster pace of narration, with more recurrently plot points in the story, capable of intensifying engagement and increasing the attention of the spectator who practices the binge-watching. This huge amount of acts, narrative arcs and characters go beyond the creative capacity of a single author, requiring a collaborative elaboration of a screenwriter’s room, with several heads thinking the story simultaneously. Thus, this article seeks, through the comparison of the macrostructures of series and films, to point out the differences in the narrative design of these two formats. In other words, we aim to elucidate a simple concept: different formats assume the existence of different narrative designs.
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Reports on the topic "Martial arts films"

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4th Inter-American Biennial of Video Art. Inter-American Development Bank, December 2008. http://dx.doi.org/10.18235/0005923.

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The country with most entries was Colombia, totaling 70 coming from all parts of the country, and surpassing Argentina (in second place with 24), and others that have traditionally dominated the event, at least numerically, such as Mexico and Brazil (this year with 15 and 11 respectively). The explanation for this phenomenon may be found in the fact that Colombia is the country that in the last two years has shown the most interest in the Biennial¿s exhibit circuit, adding fi ve more venues in cities such as Santa Marta, Cali, and Medellin, in addition to Bogota where the Biennial is part of the International Film Festival, and Cartagena. It also has to do with the accessibility of technology, and the commercial possibilities of the creative technologies developed in that nation in recent years.
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