Journal articles: '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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Hiramoto, Mie. "Wax on, wax off: mediatized Asian masculinity through Hollywood martial arts films." Text & Talk 35, no. 1 (January 1, 2015): 1–23. http://dx.doi.org/10.1515/text-2014-0028.

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AbstractThis paper examines the mediatization of Asian masculinity in representative Hollywood martial arts films to expose the essentialism on which such films rely. Asian martial arts films are able to tap into viewers’ familiarity with idealized images of Asian masculinity; such familiarity is an essential part of the pleasure provided by these films and hence of their economic success. This study focuses on non-Asian (that is, western) protagonists’ appropriation of Asian masculinity because it succinctly encapsulates precisely how western hegemonies co-opt and commodify Asian-ness for their own purposes. Such appropriation is a use of intertextuality that not only allows western viewers to easily access a simplified model of Asian masculinity, but also allows them to reference earlier works to further facilitate the mediation and mediatization of Asian masculinity. This is a process which continues to Other and exoticizes Asian identities, even as it ostensibly carves out a niche for Asian bodies and identities in the institution of the film industry.

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Jieqiong, Qiao. "On Inherent Relations between China’s “Red Classics” Films and Martial Arts Films." TECHART: Journal of Arts and Imaging Science 4, no. 2 (May 31, 2017): 16–20. http://dx.doi.org/10.15323/techart.2017.05.4.2.16.

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Whissel, Kristen. "Tales of Upward Mobility." Film Quarterly 59, no. 4 (2006): 23–34. http://dx.doi.org/10.1525/fq.2006.59.4.23.

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ABSTRACT This article investigates a new cinematic spatial dialectics enabled by digital special effects. Focusing on blockbuster films from a range of genres (martial arts, disaster, comic-book, and science-fiction films), it approaches digitally enhanced ““verticality”” as a mode of cinematic representation designed to exploit the visual pleasures of power and powerlessness.

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Zhouxiang, Lu, Qi Zhang, and Fan Hong. "Projecting the ‘Chineseness’: Nationalism, Identity and Chinese Martial Arts Films." International Journal of the History of Sport 31, no. 3 (February 5, 2014): 320–35. http://dx.doi.org/10.1080/09523367.2013.866093.

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Wong, Wayne. "Nothingness in motion: Theorizing Bruce Lee’s action aesthetics." Global Media and China 4, no. 3 (September 2019): 362–80. http://dx.doi.org/10.1177/2059436419871386.

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This article argues that Bruce Lee revolutionized kung fu cinema not only by increasing its authenticity and combativity but also by revealing its inherent connection to wuyi (武意), or martial ideation. Martial ideation refers to a specific negotiation of action and stasis in martial arts performance which contains a powerful overflow of emotion in tranquility. Since the early 1970s, Bruce Lee’s kung fu films have been labeled “chop-socky,” offering only fleeting visual and visceral pleasures. Subsequently, several studies explored the cultural significance and political implications of Lee’s films. However, not much attention has been paid to their aesthetic composition—in particular, how cinematic kung fu manifests Chinese aesthetics and philosophy on choreographic, cinematographic, and narrative levels. In Lee’s films, the concept of martial ideation is embodied in the Daoist notion of wu (nothingness), a metaphysical void that is invisible, nameless, and formless. Through a close reading of Laozi’s Daodejing (道德經), it is possible to discover two traits of nothingness—namely, reversal and return—which are characteristics of Lee’s representation of martial ideation. The former refers to a paradigmatic shift from concreteness to emptiness, while the latter makes such a shift reversible and perennial via the motif of circularity. The discussion focuses on films in which Lee’s creative influence is clearly discernible, such as Fist of Fury (1972), The Way of the Dragon (1972), and the surviving footage intended for The Game of Death featured in Bruce Lee: A Warrior’s Journey (2000). These films shed light on the complicated relationship between the cinematic (action and stasis), the martial (Jeet Kune Do), the aesthetic (ideation), and the philosophical (Daoism). The goal is to stimulate a more balanced discussion of Lee’s films both from the perspective of global action cinema and Chinese culture.

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유경철. "The Study on Korea-Hong Kong Co-Produced Martial Arts Films." JOURNAL OF CHINESE STUDIES ll, no. 38 (November 2012): 291–321. http://dx.doi.org/10.26585/chlab.2012..38.013.

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Hiramoto, Mie. "Don’t think, feel: Mediatization of Chinese masculinities through martial arts films." Language & Communication 32, no. 4 (October 2012): 386–99. http://dx.doi.org/10.1016/j.langcom.2012.08.005.

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Handayani, Melina, Muhammad Sayuti, and Cut Sidrah Nadira. "Relationship between body mass index and postural balance among student of the martial arts club malikussaleh university." DIPONEGORO MEDICAL JOURNAL (JURNAL KEDOKTERAN DIPONEGORO) 11, no. 3 (June 8, 2022): 131–37. http://dx.doi.org/10.14710/dmj.v11i3.33916.

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Relationship between body mass index and postural balance among student of the martial arts club malikussaleh university. Postural balance is an important component in martial arts. Every player martial art needs fast and strong movements so that the body must be well controlled. Disturbances such as body mass index (BMI) that are not ideal can affect postural stability. The height and shortness or the weight and lightness of a person will affect the location of the center of gravity that later will affect the balance. The purpose of this study is to find out the relationship between body mass index and postural balance among students of the Martial Arts Club Malikussaleh University. This study used a cross-sectional design which was conducted in March 2021 at the Bukit Indah Campus, Malikussaleh University. The sample of this study used total sampling with 49 respondents. Data collection was carried out by measuring body weight, height, static balance with a standing stork test and dynamic balance with a modified bass test of dynamic balance. The results of this study obtained BMI with the highest proportion is normal category, with 31 people (63.3%), while the static balance commonly found in the very good category with 11 people (22.4%), and dynamic balance commonly found in the balanced category with 29 people (59.2 %). The results of the chi-square analysis showed that there was a relationship between BMI with static balance (p = 0.019) and dynamic balance (p = 0.012). This study concludes that there is a relationship between BMI and postural balance among students of Martial Arts Club Malikussaleh University.

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Teo, Stephen. "Confucian Orientalism and Western Outlook in Martial Arts Film." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 65–82. http://dx.doi.org/10.1515/jcfs-2021-0006.

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Abstract This paper discusses the martial arts genre with reference to the films of the Japanese master Kurosawa Akira and the Chinese director Zhang Yimou, discussing how both directors converge in their themes and styles through the concept of “Eastern Orientalism.” Such Orientalism is based on Confucian precepts of zhengming (rectification of names), chaos theory, and the defense of the people undertaken by militaristic but heroic individual protagonists (samurai or xia). In raising the issue of Orientalism, the paper probes into the Western perceptions of the genre and the imperative of directors like Kurosawa and Zhang in pandering to Western tastes. However, these same directors seem equally preoccupied with fostering a sense of self and nationalistic expression in their response to and treatment of Orientalized content. The paper concludes with a discussion on The Great Wall (2016) as a comparative review of the Western and Eastern viewpoints at play in the US-China co-production. Here the analysis revolves around the issue of sameness, dramatized as a main theme in the film.

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Chen, Huan, Yifan Zuo, Rob Law, and Mu Zhang. "Improving the Tourist’s Perception of the Tourist Destinations Image: An Analysis of Chinese Kung Fu Film and Television." Sustainability 13, no. 7 (April 1, 2021): 3875. http://dx.doi.org/10.3390/su13073875.

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Cultural media, film, and television works can increase the popularity of the image of tourist destinations, thereby promoting the sustainable development of the tourism industry and obtaining economic benefits. This study takes Chinese kung fu film and television as examples to explore the mechanism of audience participation in the perception of tourist destinations. It further explores the mediating effect of cultural contact. The study took the image perception of tourist destinations as the dependent variable and audience participation as the independent variable. A total of 331 subjects were surveyed, and a multi-layer regression model was established to test the rationality and validity of the hypothetical theoretical model. The research results show that audience participation in martial arts films and television tourism can directly and indirectly affect the audience’s perception of martial arts culture. At the same time, the viewer can achieve contact with martial arts culture through film and television, accordingly forming his or her perception of the destination. In other words, film and television audience participation can bring more cultural contact to the audience. In turn, cultural contact can enhance the image perception of tourist destinations and play an important intermediary role in the process of audience participation by enhancing the perception of tourist destinations. By confirming the variable relationship in Wushu film and television tourism, this research fills the gap between the two aspects, which contributes to promoting the two-way interaction between Wushu film and television works and tourism marketing and achieving the long-term sustainable development of tourism destinations.

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NAGY, Stephen Robert. "Japanese Martial Arts as Popular Culture: Teaching Opportunity and Challenge." Asian Studies 3, no. 1 (July 24, 2015): 83–102. http://dx.doi.org/10.4312/as.2015.3.1.83-102.

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Japanese martial arts, here after Japanese budō, are popular cultural icons that are found in films, comics, video games and books. Teaching Japanese budō at university offers a novel way to teach about East Asian and in particular Japanese culture, history, and philosophy while including ideas about the globalization and the localization of culture. Question though remains as to how and what should we teach about the popular culture of Japanese budō at the university level? This paper found that a comprehensive approach to teaching about budō was effective. By using many kinds of materials and the incorporation of opportunities to experience budō and to try budō, students were better able to grasp the historical, cultural and religious characteristics of budō.

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Hiramoto, Mie. "Powerfully queered: representations of castrated male characters in Chinese martial arts films." Gender and Language 11, no. 4 (January 28, 2017): 529–51. http://dx.doi.org/10.1558/genl.31592.

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Chan, Shao-yi. "Orientalism Writes Back: Discourses of ‘Chinese’ DissemiNationalism in Transnational Martial Arts Films." International Journal of Taiwan Studies 1, no. 2 (August 2, 2018): 353–69. http://dx.doi.org/10.1163/24688800-00102006.

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This essay revisits Edward Said’s famous conception of Orientalism and places it against the context of transnational Chinese cinemas, in particular Hong Kong and Taiwan cinemas, to examine how the concept is unpacked and reconstructed in a way that is often described as ‘self-Orientalism’—the self-exoticising of local fabrics to satiate Western consumers. Focusing on three films, Stephen Chow’s Kung Fu Hustle (2004), Ang Lee’s Crouching Tiger, Hidden Dragon (2000), and Hou Hsiao-hsien’s The Assassin (2015), I argue that the act of self-Orientalising, rather than a passive submission to Western spectatorship, has served to rewrite and recode the idea of Chinese nationalism to present an alternative form of nationalism which I call dissemiNationalism and an alternative discourse to the mainland-centric narrative.

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Lee, Vivian. "Virtual bodies, flying objects: the digital imaginary in contemporary martial arts films." Journal of Chinese Cinemas 1, no. 1 (January 2006): 9–26. http://dx.doi.org/10.1386/jcc.1.1.9_1.

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Clini, Clelia. "Is everybody Kung Fu fighting? Indian popular cinema and martial arts films." Transnational Screens 11, no. 3 (October 12, 2020): 218–32. http://dx.doi.org/10.1080/25785273.2020.1823075.

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Yang, Mei, Jie Zhang, and Youguo Liu. "Thai Romantic Romance Movie Female Narrative Way ——Take Love on the Light Rail, and The Little Things of First Love, for Example." Learning & Education 10, no. 5 (March 13, 2022): 55. http://dx.doi.org/10.18282/l-e.v10i5.2670.

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In the 21st century in the narrative perspective and the transformation of female image, contrary to previous Thai films with martial arts, monsters and terrorist elements, Thai film through the exploration of real-life, opened a kind of perspective of gender differentiation, especially with women as the narrative body began to appear in the field of mass culture.

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Zhao, Jie, and Olena Stepaniuk. "Detailed review of development and study of martial arts by scientists: How does the truth differ from a television image." Interdisciplinary Cultural and Humanities Review 2, no. 2 (May 6, 2023): 39–45. http://dx.doi.org/10.59214/2786-7110-2023-2-2-39-45.

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The research relevance is determined by the frequent distortion of reality in the modern world, especially on television, where an alternative reality is created, which helps convey the image to the largest possible audience. The image revealed is purposefully formed to affect the emotional and psychological state of the audience. In films, the conveyance of certain value patterns can often be seen, which reflects the educational functions of sports and martial arts, depicting socially approved patterns of behaviour. The study aims to review the development and study of martial arts on television by scientists. The primary research methods are comparative analysis, descriptive analysis, classification, induction and deduction, and generalisation of approaches, which were used to describe and highlight the main problems of reality and television images in martial arts. Aspects of the study of martial arts by scholars are disclosed in the article; the specifics and peculiarities of the image of athletes on television are analysed; the importance of image for athletes is described. A detailed analysis of the literature was conducted, and the content, characteristics and features of this phenomenon were clarified; audiovisual, program and plot methods of demonstrating a professional image on television have been found; the possibilities of using the image of athletes in advertising are shown; the tendencies of influence of sports programs on human psychology, idealisation of life and appearance are characterised. The study materials represent practical and theoretical value for athletes, students of physical disciplines and contestants in combat competitions, who are trying to achieve the ideal and set an example for the younger generations. The information is valuable for specialists in the field of media influence on a person and his psychology, able to explain in more detail the process of perceiving an image from television

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Liu, Peng. "Myth, Imagination and Digital Imaging: On the Aesthetic Expression of Nationality in Chinese Fantasy Films." Highlights in Art and Design 4, no. 1 (August 28, 2023): 61–63. http://dx.doi.org/10.54097/hiaad.v4i1.11732.

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Chinese fantasy movies have been based on Chinese myths and legends or ancient novels about monsters since the beginning, and have mixed martial arts, kung fu, traditional opera and other folk-art forms in the form of expression. As China's digital film technology production system matures, the boundaries between national films and transnational films in Chinese fantasy films are becoming increasingly blurred. This article mainly analyzes how Chinese magic movies, driven by technology, use local cultural elements to generate images and aesthetic conceptions with national characteristics. It proposes that magic movies should create a visual style with oriental aesthetic attributes, build cultural confidence, and enhance China through image dissemination. cultural influence.

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Lola Indriani, Khairuddin Khairuddin, Yusuf Afandi, and Muhammad Fajri. "Nilai-Nilai Dakwah Dalam Film Surau Dan Silek (Analisis Semiotika Roland Barthes)." Jurnal Ilmiah Teknik Informatika dan Komunikasi 3, no. 2 (June 1, 2023): 07–14. http://dx.doi.org/10.55606/juitik.v3i2.452.

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The films Surau and Silek are family films that tell the story of Minangkabau culture which has long been abandoned and has two different perspectives between an 11-year-old elementary school student and a 62-year-old retired lecturer. The film Surau and Silek raises the story of Minangkabau martial arts side by side with the values of da'wah in which the film depicts that if learning martial arts is not based on faith then life will be in vain. Based on the background above, the author formulates a question, namely how are the values of da'wah in the films Surau and Silek. This study used qualitative research methods. The author obtains data from observation activities by watching and observing every scene and dialogue that occurs in the film. The author also separates each scene which contains elements of da'wah values, then the author analyzes it. The theory used in this study is Roland Barthes' semiotic theory by using three meanings in analyzing. The three meanings include denotative, connotative, and mythical meanings. In the films Surau and Silek, scenes that symbolize the values of da'wah are raised, such as the five daily prayers, meditation, tawakal, three uninterrupted practices and amar ma'ruf nahi munkar. The object that appears is like in the scene when Adil is reminded by his mother about three continuous practices, one of which is the prayer of a pious child. And there are also scenes where prayer is more important than other matters.

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Li, Kay. "Possibilities for the Chinese Martial Arts Movies: The Sudden Surge of Ip Man Films." International Journal of Literary Humanities 11, no. 1 (2014): 59–68. http://dx.doi.org/10.18848/2327-7912/cgp/v11i01/58292.

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Brown, David, George Jennings, and Aspasia Leledaki. "The changing charismatic status of the performing male body in Asian martial arts films." Sport in Society 11, no. 2-3 (March 2008): 174–94. http://dx.doi.org/10.1080/17430430701823414.

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Stepanyuk, S., O. Serputko, V. Maksymyak, and V. Yukhymuk. "HISTORICAL PREREQUISITES OF DEVELOPMENT OF AIKIDO IN KHERSON." Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), no. 5(150) (May 27, 2022): 18–20. http://dx.doi.org/10.31392/npu-nc.series15.2022.5(150).04.

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The presented article considers the historical prerequisites for the development of aikido in Kherson. Despite the lack of research in this area, we were able to find out the date of the first section on aikido in Kherson, it is the 1996th year. Speaking about the development of sports and the work of sports sections in Kherson in the 1990s, one must note that was a difficult period in the life of all the Ukrainian cities. As the collapse of the USSR and the beginning of the formation of Ukrainian statehood were associated with a huge shortage of basic livelihoods of common people. However, in contrast to the lack of material goods, there was an increase of interest in sports life, especially among children and youth. The sections on boxing, wrestling, judo, sambo wrestling, hand-to-hand combat, kickboxing, as well as martial arts, in particular karate, wushu, ninjutsu, taekwondo, etc., were especially popular. This interest was further reinforced by the influx of films, magazines and television programs that broadcast pro- Western trends in the information space. According to the participants of these processes, there was a great desire among young men and women to study martial arts on a professional level, but there were no masters in Kherson or even in Ukraine. Foreign educational publications came to the rescue, which were self-translated, repeatedly copied by hand and studied; techniques were tested in practice, which was often accompanied by high injuries. Gradually, the flow of knowledge became more accessible and the understanding of techniques deeper, and even excellent masters, representatives of various schools started to come to Ukraine, and it became possible for our compatriots to learn directly from masters. That is how in the second half of the 90s a group of like-minded people appeared in Kherson, who began their first steps in a completely new form of Japanese martial arts for this region – aikido. Often their interest and devotion to aikido was a real test, because they all developed and promoted aikido in Kherson exclusively at their own expense and often at the cost of their own health, but today we can talk about Kherson aikido thanks to the first masters who laid the foundations of the first dojos in Kherson. Today almost all types of traditional martial arts are practiced, among which the disciplines of Budo and, in particular, aikido, occupy an important place in Kherson. This article discusses how the process of development and formation of lasting interest in this type of Japanese martial arts in Kherson took place, and what figures and masters are behind this process.

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Cynarski, Wojciech J. "Horseback riding in the history of Poland – selected moments and reflections." Sport i Turystyka. Środkowoeuropejskie Czasopismo Naukowe 4, no. 2 (2021): 11–24. http://dx.doi.org/10.16926/sit.2021.04.08.

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Background. The cavalry was the primary armed force of Poles and their legendary ancestors from ancient times, especially in historical formations. It also functions as an element of national history in culture in its various areas. Problem. How this fragment of the old Polish military culture manifests itself in high and mass culture, in the world of film, in the city space, in pictures and numismatic values, and how is it displayed in the field of martial arts cultivated today? Method. The answers will be formulated based on an analysis of 30 selected works of art, value or cultural artefacts and illustrated with examples. Examples include films of Polish cinematography (Teutonic Knights, The Deluge, Hubal and others), a series of commemorative medals and paintings by outstanding Polish painters that inspired the authors of these medals. Therefore, both great paintings by outstanding artists (Jan Matejko, Wojciech Kossak etc.), monuments and films, and small graphic forms (coins, medals). Results and conclusions. This Polish tradition of military culture manifests itself even today in high culture (painting, literature) and mass culture (films, songs), in urban space (monuments), and the artistic qualities of medals. It is also cultivated in the Polish martial art practised today – in teaching one of the schools. It is about horse fencing in Signum Polonicum.

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Watts, Andrew, Christy Lucas, Eric Brzozowski, Zachary Winthrop, Tonya S. King, and Robert P. Olympia. "Positive and Negative Themes Depicted in Combat-Related Sports Films." Global Pediatric Health 6 (January 2019): 2333794X1984702. http://dx.doi.org/10.1177/2333794x19847027.

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Participation in boxing, mixed martial arts, and wrestling is extremely popular among children and adolescents. The objective of this study was to determine themes depicted in a select number of combat-related films. Twenty films were independently viewed and analyzed by 4 reviewers. The average number of positive and negative themes was 34.4 and 18.1 mean events/hour for all included films, respectively. The most common positive themes were “positive interactions with family/friends/fans,” “importance of mentorship,” and “positive interactions with a coach/trainer” (4.23, 3.63, and 3.06 mean events/hour, respectively). The most common negative themes were “choosing to do the wrong thing,” “negative interactions with family/friends/fans,” and “poor sportsmanship” (2.70, 2.00, and 1.58 mean events/hour, respectively). In conclusion, the co-viewing of combat-related films among pediatric athletes and their coaches/trainers and/or parents in order to focus on “teachable moments” may encourage the acquisition and development of positive themes and the avoidance and de-emphasis of negative themes.

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Krugliak, M., and N. Bohach. "STEREOTYPES OF THE IMAGE OF THE “COLOR” POPULATION IN AMERICAN MOVIES OF THE XX – FIRST QUARTER OF THE XXI CENTURY." National Technical University of Ukraine Journal. Political science. Sociology. Law, no. 1(53) (July 8, 2022): 6–13. http://dx.doi.org/10.20535/2308-5053.2022.1(53).261097.

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The article considers the peculiarities of the stereotypical image of the “color” population in the US film industry of the XX – first quarter of the XXI century as one of the manifestations of racism; the reasons for the transfer of “ethnic stereotypes” in cinema have been identified. The brightest ethnic stereotypes in film and television are presented in the form of so-called “tropes”. The heroes of films of Asian descent were endowed with excessive militancy and the ability to master martial arts (tropes “All Asians know martial arts”, “All Chinese people know kung-fu”); Asian women were portrayed as defenseless as opposed to a strong white man (“Mighty Whitey and Mellow Yellow” trope); to describe the black hero took the trails “Humble Servant” (“Mammy”), “African-American criminal” (“Blaxploitation”), “White Savior”, “Magic Negro”, “Black Best Friend”. Latin American heroes are physically perfect, sexual and romantic (tropes “Latin Lover”, “Spicy Latina”). In 2010–2020, the “color” population in Hollywood movies is portrayed from a new angle. The main “non-white” heroes show absolute equality with whites, and sometimes dominance over them. This is a social film about problems of general scale and their perception in society, in particular homosexuality (“Moonlight”); a movie with a black superhero (“Black Panther”); a thriller about the confrontation of a black guy with a group of white killers (“Get Out”). Films of this genre are focused on the “color” spectator. The catalysts for changes in Hollywood policy were the #OscarsSoWhite (2016) and Black Lives Matter (2020) movements. As a result, there was a review of the composition of film production teams with an approximation to the proportion typical of the national population of the United States – 40 % (2020, the share of “color” actors in films was 39. %, directors – 25.4 %, writers – 25.9 %); implementation of new requirements for the Oscar (“Best Film” nomination, from 2024) with quotas on gender and racial composition of the production team, etc.

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Wang, Yi Yi, and Yong Jin Park. ""Study on the Key Characters and Meaning of Chinese Martial Arts Film through Roland Barthes's Semiotic Theory and Mythology - focusing on Top 5 awarded Chinese martial arts films which also among top grossing films during 2011-2018 -"." Journal of Basic Design & Art 20, no. 4 (August 31, 2019): 279–90. http://dx.doi.org/10.47294/ksbda.20.4.20.

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Schwarzer, Mitchell. "Oakland Tough." California History 101, no. 3 (2024): 61–83. http://dx.doi.org/10.1525/ch.2024.101.3.61.

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The postwar Bay Area is famous for birthing a series of influential cultural movements. Yet aside from the Black Panther Party, Oakland’s contributions have not received a comprehensive appraisal. This article investigates three such undertakings in the period between 1938 and 1970. Earliest, Jack LaLanne and Ed Yarick launched bodybuilding gyms that attracted boys and men to seek salvation by bulking up their physiques. Next, Bruce Lee and James Yimm Lee built upon the Bay Area’s postwar martial arts scene to recast traditional Chinese techniques into hybrid fighting styles. Lastly, Sonny Barger’s Oakland chapter of the Hells Angels cultivated outlaw behavior on city streets, rural byways, and barrooms and festivals across California. Most of these men grew up in declining urban neighborhoods that sparked in them feelings of insecurity as well as outrage. Their experiments in states of heightened masculinity may be seen as a stab at becoming relevant (and famous) on their own terms. The musclemen, martial artists, and bikers benefited from California’s mounting limelight of glossy magazines, films, and television, a media infrastructure that they worked to broadcast the visually explosive scenes happening in Oakland to a national and even international audience.

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Grzechowiak, Jarosław. "The audience and reception of the films from the Profil Film Unit in 1982-1989." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (January 5, 2023): 113–27. http://dx.doi.org/10.14746/i.2022.41.07.

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The subject of this article is an analysis of the distribution, attendance results and reception of feature films made by the Profil Film Unit in 1982–1989. The Profil Film Unit was the second film group (alongside Iluzjon, headed by Czesław Petelski) to be reactivated by the cinematography management after martial law was declared in Poland. The artistic director of Profil, Bohdan Poręba, enjoyed the trust and support of the Party authorities, linking his allegiance to communist dogma to his activity in the nationalist ‘Grunwald’ Patriotic Association. Profil’s productions were boycotted by a large part of the acting community (also due to an appeal by the Solidarity Stage and Film Artists published in the newspaper “Tygodnik Mazowsze”), and some of the films made by this unit in the 1980s clearly followed the guidelines of the cultural policy of the Polish United Workers’ Party. The following questions will be answered: How did the political circumstances outlined above affect the distribution and reception of the films made by Profil? What attendance results did the films produced by Profil achieve and to what extent did they differ from the cinema ticket revenues of the films produced by other groups? How was the activity of the Profil Film Unit and the financial results achieved evaluated by the Supreme Board of Film Affairs? How were the productions of Profil received by film critics in the daily press and magazines?

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Hu, Tingting, and Tianru Guan. "“Man-as-Nation”: Representations of Masculinity and Nationalism in Wu Jing’s Wolf Warrior II." SAGE Open 11, no. 3 (July 2021): 215824402110335. http://dx.doi.org/10.1177/21582440211033557.

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Through an in-depth analysis of gender representation in the box office record-breaking Chinese movie Wolf Warrior II, this study interrogates how the male body is used as a site for the projection of Chinese national power. Furthermore, it illustrates a revival of patriotic pride in China through a contemporary reading of cross-genre action-military films. Developing Shuqin Cui’s notion of “woman-as-nation,” which understands on-screen female victimization in Chinese films as signifying the past suffering of the nation, this study proposes the new concept of “man-as-nation” to explain how the masculine virtues of male protagonists in Chinese films signify the nation’s rejuvenation and strength. Framing male virtue into the paradigms of wu (武), as martial valor, and wen (文), as cultural attainment, this article argues that masculinity has come to symbolize China’s enhanced comprehensive power and to embody its ideological orientation in both global and domestic domains.

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윤성은. "A Study on the Nationalism of Contemporary Chinese Films -Focus on the historic martial arts trilogy of Zhang Yimou-." Contemporary Film Studies 4, no. 1 (May 2008): 129–52. http://dx.doi.org/10.15751/cofis.2008.4.1.129.

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Setyanto, Daniar Wikan, Santosa Soewarlan, and Sumbo Tinarbuko. "MENAKAR KUALIFIKASI PEMERAN JAGOAN PEREMPUAN PADA FILM LAGA INDONESIA." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, no. 01 (April 16, 2022): 109–24. http://dx.doi.org/10.33633/andharupa.v8i01.5795.

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AbstrakKesetaraan gender menjadi salah satu isu yang sering diangkat dalam dunia perfilman. Film-film laga populer saat ini mudah ditemukan karakter perempuan yang tampil sebagai seorang jagoan yang kuat dan mahir bela diri. Meskipun belum sebanyak Hollywood, film-film di Indonesia mulai memperkenalkan karakter jagoan perempuan di film-film layar lebar. Namun karakter jagoan perempuan dalam film Indonesia masih dianggap sebagai karakter minor, kemunculan mereka juga masih dianggap belum bisa menaikkan film dari segi kualitas dan perolehan penonton. Penelitian ini mencoba untuk mencari tahu alasan dibalik mengapa karakter tersebut masih belum berhasil mencuri hati penonton, yaitu dengan cara menakar kualifikasi setiap artis yang memerankan jagoan perempuan tersebut. Teori yang digunakan adalah teori dikotomi antara aktor (actrees) dan bintang (star). Metode penelitian yang digunakan yaitu metode campuran (mixed method) dengan teknik pencarian data dengan wawancara tokoh salah satu sutradara terkenal Indonesia yaitu Garin Nugroho. Hasil dari penelitian ini adalah film jangan hanya mengeksploitasi tubuh perempuan dengan menonjolkan visualisasi kecantikan dan kemolekan tubuh perempuan tetapi perlunya kemampuan akting dan keahlian dalam bela diri sebagai nilai tambah pemainnya. Selain itu perlunya memperkuat penulisan naskah film laga dan pendalaman karakter sehingga kualitas film laga di Indonesia akan semakin berjaya dan bisa bersaing di kancah film Internasional. Kata Kunci: artis peran, film Indonesia, jagoan perempuan, kajian film AbstractGender equality is an issue that is often raised in the world of cinema. Popular action films nowadays are easy to find female characters who appear as strong and proficient in martial arts. Although not as many as in Hollywood, films in Indonesia have begun to introduce female hero characters in big screen films. However, female hero characters in Indonesian films are still considered minor characters, their appearance is also still considered unable to increase the quality of the film and the audience gain. This study tries to find out the reason behind why the character still hasn't been liked by the audience, that is by measuring the qualifications of each artist who plays the female hero. The theory used is the dichotomy theory between actors and stars. The research method used is a mixed method with data search techniques by interviewing the famous Indonesian directors, namely Garin Nugroho. The result is that the film does not only exploit women's bodies by highlighting the visualization of the beauty and beauty of the female body, but also the need for acting skills and martial arts skills as an added value for actresses. In addition, it is necessary to strengthen the writing of action film scripts and character development so that the quality of action films in Indonesia will be more victorious and can compete in the international film scene. Keywords: artists, Indonesian film, female heroes, film studies

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Zhylkychiev, I. "Versatile Training of Taekwondists." Bulletin of Science and Practice, no. 4 (April 15, 2023): 482–86. http://dx.doi.org/10.33619/2414-2948/89/60.

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This article discusses the pedagogical problems of the versatile training of those involved in taekwondo, one of the types of Korean martial arts, which is an Olympic sport. Despite the fact that taekwondo, being a young type of martial arts, has several principles through which versatile training is carried out, these are: honesty, perseverance, self-control, an indomitable spirit and reverence that make up a certain spiritual and philosophical tradition that was once lost. And based on these principles, the article discusses the versatile training of a taekwondo player. It also takes into account all aspects of training and education, sets the goals of the study on the effectiveness of these processes. The article notes the intellectual training of a taekwondo player, which includes everything that directs to comprehend direct competitive activity, sports phenomena connecting them with it, processes for the worldwide development of mental abilities (qualities and properties). A place is given to self-education and self-education in the comprehensive self-improvement of taekwondo fighters. The article also states that in the process of training an athlete, both psychological preparation for the upcoming competitive activity is brought up, and creative manifestations of self-expression increase, with a peculiar shade of the athlete's individuality in terms of technical, tactical, psychological and other qualities of taekwondo training. The integration of many aspects of the training of taekwondo wrestlers is indicated, taking into account the most complex interrelated aspects of psychological and pedagogical principles and medical and physiological aspects, that at the end conclusions are drawn on the effectiveness of such training, which, through a scientifically constructed systematization of training, lead to the effectiveness of an athlete, taking into account individual abilities.

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Azizah, Zulfa Nur, Siti Awalia Maryani, and Siti Hotimah Afriani. "ACTION OF ADVENTURE FORMULA IN MULAN 2020." Saksama 1, no. 2 (December 8, 2022): 177–85. http://dx.doi.org/10.15575/sksm.v1i2.27823.

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Films that have action and adventure genres appeal to the audience by displaying scenes that have a sense of tension due to murders, resistance, and extreme actions played by the characters. This research focuses on the narrative and analysis formula fiction. The analysis conducted on the film Mulan 2020 aims to understand the fiction of action and adventure formula, as well as what the action functions in the adventure formula. The research data is in the form of information about film units related to the formulation of the problem which includes John G. Cawelti’s four formulaic fictions, namely storylines, characters, settings, and situations contained in the animated film Mulan 2020. The data collection technique used in this study is the method of observation and literature study. The film Mulan 2020 is an adaptation of one of Disney’s animated live-action films of the same name. Overall, this film presents action and adventure that amazes and attracts the audience by displaying the martial arts skills of the main character. In each of her struggles, this film gives us a deep understanding of how the character Mulan fights for truth and freedom. And more interestingly, Mulan is a strong woman.

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Zhao, Wenyuan. "Analysis of the Similarities and Differences between The Assassin Nie Yinniang and the New Taiwanese Films." Highlights in Art and Design 4, no. 3 (November 15, 2023): 4–5. http://dx.doi.org/10.54097/hiaad.v4i3.02.

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Director Hou Hsiao-Hsien's film The Assassin Nie Yinniang diverges from the conventions of the New Taiwanese Cinema movement, blending black and white with color tones to reflect the emotional and thematic nuances of its protagonist, Nie Yinniang. stands apart from typical martial arts films by de-emphasizing elaborate combat scenes and instead focusing on ambiance and an exploration of loneliness. The film depicts a journey of conflicting ideologies between righteousness and personal emotions, as Nie Yinniang transitions from an assassin adhering to Taoist teachings to a woman entangled in familial affections and personal values. While the film maintains technical elements and filming techniques characteristic of the New Taiwanese Cinema, its thematic divergence focusing on individual subjective expression sets it apart. Unlike the movement's societal reflections, the film delves into personal narrative, exploring the internal conflict of its central character amidst cultural and familial ties. The Assassin Nie Yinniang thereby embodies a unique departure from the thematic trajectory of the New Taiwanese Cinema while maintaining some of its stylistic elements.

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Zhao, Wenyuan. "Analysis of the Similarities and Differences between The Assassin Nie Yinniang and the New Taiwanese Films." Highlights in Art and Design 4, no. 3 (December 20, 2023): 89–90. http://dx.doi.org/10.54097/9h4f8rtw.

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Director Hou Hsiao-Hsien's film The Assassin Nie Yinniang diverges from the conventions of the New Taiwanese Cinema movement, blending black and white with color tones to reflect the emotional and thematic nuances of its protagonist, Nie Yinniang. stands apart from typical martial arts films by de-emphasizing elaborate combat scenes and instead focusing on ambiance and an exploration of loneliness. The film depicts a journey of conflicting ideologies between righteousness and personal emotions, as Nie Yinniang transitions from an assassin adhering to Taoist teachings to a woman entangled in familial affections and personal values. While the film maintains technical elements and filming techniques characteristic of the New Taiwanese Cinema, its thematic divergence focusing on individual subjective expression sets it apart. Unlike the movement's societal reflections, the film delves into personal narrative, exploring the internal conflict of its central character amidst cultural and familial ties. The Assassin Nie Yinniang thereby embodies a unique departure from the thematic trajectory of the New Taiwanese Cinema while maintaining some of its stylistic elements.

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Gao, Yu, and Myungsook Choi. "A Study on Convergence of Color and Music in the Movie Crouching Tiger, Hidden Dragon." Korean Society of Culture and Convergence 44, no. 11 (November 30, 2022): 1083–97. http://dx.doi.org/10.33645/cnc.2022.11.44.11.1083.

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The film Crouching Tiger, Hidden Dragon (2000) directed by Ang Lee, known as one of the new era of Chinese martial arts films, is the first film in Chinese film history to win the Academy Award for Best Foreign Language Film. Tan Dun, a composer and conductor, won the 73rd Academy Awards for Best Original Music in 2001 by the music of Crouching Tiger, Hidden Dragon. In 2002, he won the 44th Grammy Award for Best Original Film Music Album, and began to receive extensive attention. This paper explored Crouching Tiger, Hidden Dragon with strong oriental color and traditional music and investigated the Chinese traditional color view and aesthetic thought of director Ang Lee by his pursuit of the costume color and modeling of the main characters in the film. At the same time, through the music of Crouching Tiger, Hidden Dragon that throughout the film, to show the music creation characteristics of the integration of eastern and western music of Tan Dun.

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Mi, Shi Xing, and Stanislav D. Furta. "A Look at Management from the Shaolin Temple." Economic Strategies 144 (May 20, 2020): 126–33. http://dx.doi.org/10.33917/es-3.169.2020.126-133.

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If you ask an ordinary resident of Russia what he knows about the Shaolin Temple, that was hiding for a long time from human eyes in the Songshan Mountains, he will surely remember numerous colourful films on martial arts exercised by the monks. What else? The most advanced will say that Shaolin Monastery is associated with the name of one of the patriarchs of Chan Buddhism, the Indian monastic warrior Bodhidharma, who passed to the Shaolin inhabitants a method that fundamentally changed their practice of perceiving spiritual experience and improving physical health. Meanwhile, Shaolin is an integral harmonious philosophical system based on ancient Eastern wisdom, not at all contradicting Western knowledge (and we will prove it!), but harmoniously complementing the latter. And if we are talking about philosophical system, that is, a picture of how the world works, it is natural to build management approaches within this picture. It is really possible, which is confirmed by experience of the article authors as coaches and organizational development consultants.

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Gooding, Francis. "Side by Side in Peace." Middle East Journal of Culture and Communication 7, no. 2 (2014): 207–18. http://dx.doi.org/10.1163/18739865-00702007.

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By examining official films of Palestine made during the British Mandate period, this paper seeks to show that a recognizable visual trope—the ‘street scene in Jerusalem’—can be identified, and that it can be linked historically to the proclamation of British martial law in Jerusalem by General Allenby. The paper argues that this trope, and in particular its recurrence in a news report on the King David Hotel bombing of 1946, can be understood as typical of the way that British imperial power was projected throughout the Empire. In conclusion, the paper argues that the tolerance and egalitarianism that Jerusalem signifies in British colonial films of Palestine are values whose invocation is historically linked to the advent of militarized colonial control.

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Meiresonne, Bastian. "WHEN EAST MEETS WEST: American and Chinese Influences on Early Indonesian Action Cinema The List of Filmography of Early Indonesian Action Movies (1926-1941)." Plaridel 11, no. 2 (August 1, 2014): 162–88. http://dx.doi.org/10.52518/2014.11.2-07mrsnn.

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The beginning of Indonesian Cinema has elicited debates ever since politics named the first day of Usmar Ismail’s Darah dan Doa (The Long March) shooting (30th of March 1950) as the official “birthdate” of its movie industry. There have been films before. Dozens of them. They might have been Dutch or Chinese productions, but all of them contributed to Indonesia’s unique cinema history especially in the action genre. Action movies are closely related to Indonesian cinema history since the first ever long feature Loeteong Kasaroeng (Enchanted Monkey) produced in 1926 was an action-orientated fantasy spectacle. It was followed by many martial arts movies during the late 1920s and 1930s and every drama had at least one fighting sequence to entertain the audience. This paper will take a closer look at the different foreign influences in the Indonesian cinema of the 1920s-1940s and which contributed to one of the most popular genres in the contemporary Indonesian film industry. A list of filmography is attached to complement this article.

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Steenberg, Lindsay. "Bruce Lee as gladiator: Celebrity, vernacular stoicism and cinema." Global Media and China 4, no. 3 (September 2019): 348–61. http://dx.doi.org/10.1177/2059436419874625.

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This article situates Bruce Lee’s films and star persona in the context of wider patterns in global genre cinema of the 1960s and 1970s. I argue for a connection between the Western reception of Lee’s films and those of the mid-century Italian sword and sandal films, beginning with the Colosseum fight between Bruce Lee and Chuck Norris that concludes Way of the Dragon (1972). From the dojo fights of Fist of Fury (1972), through the tournament structure in Enter the Dragon (1973), to his statistically led re-animation in the EA Sports UFC 3 (2018) videogame, Bruce Lee can be usefully considered as a gladiator. Bruce Lee, as fighter, performer and star persona, contributes to the enduring gladiatorial archetype that is an embedded feature in the Western visual imaginary. Furthermore, I argue that the gladiator archetype itself shifted because of Lee’s onscreen roles and the discourse that surrounds his star persona. In order to map these shifts and patterns of confluence, I chart three main points of impact that Lee has had on the gladiatorial archetype using his Western-facing roles on film and television, namely the television series Longstreet (1971–1972) and Enter the Dragon (1973). First, I consider the inclusion of martial arts and, second, the opening up of the field of representation to different models of masculinity, including a leaner body type and a non-White – in this case, ethnically Chinese – gladiator. The third point is the emphasis on a popular, or vernacular, stoicism. Ultimately, I elucidate the relationship between the gladiator, Bruce Lee, and philosophy, arguing that Lee embodies a vernacular stoicism that has become one of the defining features of the post-millennial gladiator and notions of heroic masculinity in popular culture more widely.

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Journal articles on the topic 'Martial arts films'

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