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Topic: Wu Xia film

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Wuxia film

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	An Introduction to the Wuxia Genre
		This type of xia is the idealized version of the heroic xia, and is primarily encountered in modern fiction and cinema.
		Xia were called upon to lead village militias against oppressive landlords and their private armies (min tuan), rapacious tax collectors, as well as against bandits.
		Thus the xia in his youth, frequently becomes a scholar as he matures and gains wisdom, and the magistrate who uses his wits to maintain order also employs xia when physical force is required.
	www.heroic-cinema.com /eric/xia.html (5032 words)

	Film Industry in China (Site not responding. Last check: 2007-09-08)
		Films made between 1973-76 were strongly affected by revolutionary thinking and became tools of the Gang of Four.
		However, these films encountered more and more criticism, in particular for their stylized form and neglect of audience response and absence of representation of the spiritual bewilderment of the people during the transformation of Chinese society.
		Their serious attitude toward the art of film and life was to create youthful vigor in China's film industry for the start of the new millennium.
	www.china.org.cn /english/features/film/84966.htm (991 words)

	[No title]
		Wu xia is a very specific genre in Chinese popular culture, either in the form of fiction, comics or other visual entertainments, such as film or TV series.
		Symptomatically, unlike the fight in the wu xia genre which normally involves settling an old score or seeking valuable treasures, be it a secret script or a lost sword, that everybody is after, this fight is caused by Jen's ignorance of the jiang hu rules.
		Wu means the martial arts, while wu xia fiction emphasizes the righteous acts of the knight-warriors, who are skillful in martial arts and help the common people against evildoers.
	hermes.hrc.ntu.edu.tw /csa/journal/47/journal_park360.htm (9005 words)

	Thai Film Reviews (Site not responding. Last check: 2007-09-08)
		Japanese film SURVIVE STYLE+ springs to mind because of the sharp, music-video influenced and luridly colourful cinematography and the quirky characters.
		It's a film that is constantly going nudge-nudge wink-wink to the viewer, drawing attention to the fact it's a film, and a very silly one at that, but one that's fully self-aware in its silliness.
		The film has no surprises and is chock full of the underdog clichés that are rampant in all films of this kind.
	www.brns.com /thaifilms/pages/thai28.html (1572 words)

	Film & Video Arts at Amherst (Site not responding. Last check: 2007-09-08)
		Weekly screenings of a wide variety of films provide a means to situate films historically and culturally in order to develop a critical vocabulary for the textual analysis of film that does not assume a provincial eurocentric– or even more provincial hollywoodcentric–bias.
		This course closely studies narrative films from around the world, from the silent era to the present, and introduces students to the basic elements of film form, style, and narrative.
		Frequent writing assignments emphasize textual analysis of film in terms of its formal properties and generic codes and conventions, whether from horror and melodrama, or from masala and wu xia, to support thematic analysis.
	www.amherst.edu /~english/film/courses.html (2144 words)

	Wu Xia Pien - Kaedrin Weblog
		The Mandarin term wu xia pian originally referred to the genre of martial arts films.
		It's arguably the first form of martial arts film, with its origins dating back hundreds of years (in the form of literature and theater).
		Which is probably why the film Crouching Tiger, Hidden Dragon flopped in its homeland.
	kaedrin.com /weblog/archive/000562.html (264 words)

	Wuxia film : Wu Xia film
		Wuxia films or Wuxia pian (武俠片 Pinyin: wǔxiá piàn) is a film genre from Taiwan and Hong Kong.
		Because of distinguishing characteristics, this genre is considered different from other Martial arts film styles.
		However, in 1986, John Carpenter's film Big Trouble in Little China[?] drew heavily on the Wuxia style.
	www.fastload.org /wu/Wu_Xia_film.html (323 words)

	Hero
		It's a Chinese Rashomon in a way, a wu xia dream of history that understands that within the Chinese heart and mind is the certainty that things happened just this way--that the possibility for magic is in the rhythms and pulses of the mundane: a certain superstition, a jealous clinch of the supernatural.
		The fight sequences are extraordinary in their poetry--this may be the most beautiful film ever made in the digital age--and matched by a spirituality that finds secrets and whispers in the way a man writes a word.
		This is the best mainstream film to come out of mainland China since Hong Kong returned to the bosom of the motherland, because it finds that patiently unravelling thread of hope in the heart of the Chinese that their time beneath the yoke of oppression will end one day.
	www.filmfreakcentral.net /screenreviews/hero.htm (561 words)

	High Impact: Wu Xia - The World of the Sword and Fantasy (Site not responding. Last check: 2007-09-08)
		The worlds of the wu xia pian and the fantasy films have made an impact on the world of Hong Kong and martial arts cinemas.
		With films such as Dragon Gate Inn (Tsui Hark, 1992), Green Snake (Tsui Hark, 1993), and the Bride with White Hair films (Ronny Yu, 1993) making hits in Hong Kong, it was director Wong Kar Wai's Ashes of Time that set a new standard in the wu xia film.
		The film proved so big that a sequel and a prequel is being planned, both to be directed by Lee.
	www.megspace.com /entertainment/highimpact/articles/wuxia.html (855 words)

	LoveAsianFilm.com - Shogun's Shadow (1989) - Directed by Yasuo Furuhata, Starring Sonny Chiba, Ken Ogata, Hu Chien ...
		The film belongs to the heroic deeds of Ken Ogata, a star in his own right, and just wasn't as well seen as Chiba was with his Street Fighter series.
		Don't expect to see a long role from him, he is in the bulk of the film, but only has a few prominent scenes, especially any time he picks up the sword.
		The film contains a great cast and great visuals (seeing a man light himself on fire to let the boy escape, an exploding horse, the entire rope over the falls moment) and is a great film all around.
	www.loveasianfilm.com /reviews/shogunshadow.html (891 words)

	P-MasterLi
		These Five Elements or Five Phases (五行 Wu Hsing or Wǔ Xíng) are based on Taoist cosmology, and practitioners of the art are taught that reactions to attacks and counter attacks should be conditioned by which of the elements an attack is considered to be coming from.
		The films of Bruce Lee were instrumental in the initial burst of Chinese martial arts' popularity in the West, and lately, actors such as Jet Li and Jackie Chan have appeared in many Western films.
		This type of martial art film is often referred to as "Kung Fu movies" (see martial arts film, Wu Xia film).
	www.homestead.com /litailiang/History.html (3515 words)

	Bright Lights Film Journal \| History of the Hong Kong Martial Arts Film
		The unarmed combat film would not be distinguished from swordplay and armed combat films until much later, with the advent of the kung fu film in the 1970s.
		While earlier wu xia pian presented complex relationships and a careful causality of events, the Mandarin martial arts films emphasized sword-based combat, romance, and the fantastic, with fights erupting on the slimmest excuse.
		The term "kung fu films" came into general use along with the films of Bruce Lee and was used to refer to unarmed combat films.
	www.brightlightsfilm.com /31/hk_brief1.html (2534 words)

	Asian Cinema Drifter - Green Snake Movie Review and Image Gallery
		The film is based on an ancient Chinese legend about two immortal snakes, White Snake and Green Snake, who train their powers to turn into humans.
		There are also points where the film gets a little too eccentric (even for a HK wu-xia fantasy film), where you either have no comprehension of what’s taking place, or you really just can’t get sucked into it.
		This film is in one of the worst situations in this respect, as it captures audience attention early on with the phenomenal music-video-esque montages and sets that benchmark before losing its hold at certain points later on in the film.
	www.acdrifter.com /Asian-Movie-Review/289/Green-Snake.html (649 words)

	2004 Melbourne International Film Festival Report
		Australian film buffs were, in the past three years able to familiarise themselves with a range of Korean films, from low budget digital features like Camels and Tears, to arthouse films, Turning Gate and Old Boy, to the commercial blockbusters, Joint Security Area, Silmido or Sword in the Moon.
		Im Sang-soo's second film Tears was shown at MIFF 2001 and focused on the life of Seoul teenagers growing up in the urban slums.
		Seeing these films in the festival atmosphere, one tends to lose out on their generic specificities; the wu xia pian elements in Hero, the theatrical subtext of Kitano's films (Bunraky in Dolls, the dancing finale in Zaitochi) and ultimately the stylistic references (Milius, Fleischer) in Sword in the Moon.
	www.koreanfilm.org /miff04.html (1240 words)

	Bright Lights Film Journal \| Jackie Chan interview
		The American audience tends to believe that Hong Kong films are poorly plotted and acted, and look "cheap." This bias is probably formed by the takes-two-weeks-to-film kung fu movies regularly seen on late-night American television, which are, in fact, low budget, badly dubbed, and generally of poor quality.
		While the films are plagued by poorly developed plots and hammy acting, the fight sequences are excellent in that they reveal the true roots of Jackie's training.
		The film's highlight was the final fight, for which Jackie was acclaimed one of the best (and perhaps one of the craziest) stuntmen in the industry.
	www.brightlightsfilm.com /31/hk_jackiechan1.html (5167 words)

	Sequential Tart: Heroic Bloodshed: A Brief Introduction to Wuxia Films (vol IV/iss 4/April 2001)
		This film was especially interesting to me because it included Asian mythical elements I hadn't seen before, such as the use of hair as a magical weapon.
		The first film is the best, with some amazingly choreographed and executed fights; parts 2,3, and 6 are entertaining though not quite up to the standard of the first movie.
		Released in 1969, it was a founding film in this genre, and many subsequent directors refer to King and to this film as inspiration.
	www.sequentialtart.com /archive/apr01/cv_0401_3.shtml (1049 words)

	Milk Plus: a discussion of film
		There is a strange dichotomy between the tenderness in the treatment of the pathetic characters who populate his films and the ruthless way that they are ridiculed.
		Garnished with martial arts interludes and emerging slightly cut after all this years, this is an essential film about the beauty of terror (and vice versa).
		This confusingly complex and beautifully mounted 1976 wu xia film, the beginning of a whole cycle, gives some idea: Whereas for Cheh production design and lush cinematography are incidental pleasures at best, a distraction from his materialist interests more often, his colleague is enchanted by luxurious decor, gauze-covered compositions and tasteful color work.
	www.milkplus.blogspot.com /2003_04_13_milkplus_archive.html (2622 words)

	Wuxia - Wikipedia, the free encyclopedia
		Foremost in the xia code of conduct are yi ("righteousness" 义 yì) and xin ("honor"), which emphasize the importance of gracious deed received ("favors" 恩 ēn), and revenge (仇 chóu), over all other ethos of life.
		The code of xia is grave enough for its adherents to kill and die for, and their vendetta can pass from one generation to the next until resolved by retribution, or, in some cases, atonement.
		Films created by King Hu and Shaw Studio featured sophisticated action choreography using wire and trampoline assisted acrobatics combined with sped up camera techniques.
	en.wikipedia.org /wiki/Wu_Xia_film (2641 words)

	The Film Journal...Passionate and informed film criticism from an auteurist perspective.
		Further, the film's focus on the conflict of traditional values, represented by the King of Qin, with the more modern aesthetic, represented by the "selfish" agenda of the Nameless Assassin, sounds remarkably similar to the central concerns of many Bollywood epics as well.
		While the question of what is true or real teases us throughout the film as the stories of the assassins are told and re-told; each shares enough similarity to suggest that certain things appear to have happened, but they differ just enough to provoke confusion and uncertainty as to what those events really mean.
		The film's exquisitely choreographed mano-a-mano battles are, oddly enough, reminiscent of a Gene Kelly or Fred Astaire musical, or, perhaps more accurately, a ballet with medieval weaponry.
	www.thefilmjournal.com /issue10/hero.html (916 words)

	Show Business Weekly: Review: Film: The Promise (Site not responding. Last check: 2007-09-08)
		Studio blockbusters are nothing if not technically polished, with CGI often incorporated so seamlessly into the film, it can be difficult to tell where the real world ends and the digital one begins.
		But don't strain yourself trying to keep track of the story; for one thing, the studio inexplicably cut 20 minutes from the original version and it's likely that a good deal of exposition was lost in translation.
		Beyond that, wu xia films rarely conform to conventional narrative structures, instead indulging in wild flights of fancy that can leave unsuspecting Western audiences baffled.
	www.showbusinessweekly.com /archive/382/film_promise.shtml (475 words)

	Archives: Goodies From The Vault
		The first efforts were action-packed screen dramas called wu xia pian (martial art hero films) and they drew liberally on legends of superhuman swordsmen and magical feats.
		In the 1970s, the Shaw Brothers financed the creation of guo shu pian (neo-hero films) which eloquently blended the fights of the wu xia and gung fu pians.
		When Jackie Chan joined the Golden Harvest film company, gung fu pians had died off and were replaced by Chan's newly invented style wu da pian (fight film using martial arts), combining athleticism with dangerous stunts.
	www.filmfax.com /outre/archives/jackie_chan4.html (828 words)

	Filmmaker Magazine \| Fall 2000: MARTIAL ARTIST
		The martial arts film (wu xia pian), historically, can be divided into two major subgenres, the kung fu film and the swordplay epic, though many movies of course have scenes of hand-to-hand combat alongside those featuring weaponry.
		Digital effects have begun to show up in Asian action films, but Yuen and his colleagues long ago figured out how to use wire harnesses, slow motion and off-camera springboards and trampolines to create such magical effects without the sort of postproduction trickery that Hollywood is accustomed to.
		Lee’s film is an exhilarating work, filled with invention, but Lee is also clearly paying homage to Hu with some of the film’s elements.
	www.filmmakermagazine.com /fall2000/features/martial_artist.php (1206 words)

	Cut. Print.
		Bitter with the oft repeated realization that most films are just banal crap.
		That diet, however, often began at the famed Beijing Film Academy, where the directors had access to a wealth of international cinema, particularly the French New-Wave (though they never mention Godard's Maoist phase.
		Moreover, it is Chen and Zhang who strive for being recognized as image producers, creating the dervishes of color and patterns that overwhelm, while the others concentrate on providing access to a social experience that is often joltingly real, even if, as Li Yang says, they experienced it as they made the movie.
	publish.pots.com.tw /english/Film/2005/12/22/391_20_LivingInTheMovies (786 words)

	New York Film and Video Festival
		When he finally found Yiru, what thrilled him the most was the fact that both physically and spiritually, Yiru was not at all the woman he had imagined all his life.
		The reception will screen Dr. Yang's first feature film, Feuille, in which she is the screenwriter, director, and leading actress.
		Youxin started her career in China and then advanced her education in France where she was awarded a prize from the Association for the Study of Pediatric Pathology in 2000 for her work on the WT1 Gene in Denys Drash Syndrome and Diffuse Mesangial Sclerosis.
	www.nyfilmvideo.com /2005/lasvegasjune2005/silentfire (831 words)

	MovieMartyr.com - My Sassy Girl
		Most of the film’s early scenes mine laughs as they place Kyun-woo in embarrassing situations, and the film here resembles a descendant of the great slapstick comedies.
		The film becomes much less scattershot as it begins to find the heart in the girl that Kyun-woo suspected was there all along.
		The sense of longing that arises suggests that much of the conflict between them in the first half of the film was born out of a combination of their reluctance to get burned by a soured relationship and their unshakable desire to be in one, and the shift in gears in downright touching.
	www.moviemartyr.com /2001/mysassygirl.htm (464 words)

	The Austin Chronicle Film Listings
		A mischievous god who was destroyed some 500 years ago for his rebellious ways, the Monkey King holds the key to locating the powerful (and painfully long-winded) Longevity Monk, another mythological being whose very flesh is desired by the many gods and devils attempting to track him down.
		Filmed in and around Austin, this horror film is a remake of the 1986 film written by former Texas resident Eric Red.
		In his companion film to Flags of Our Fathers, Clint Eastwood again shows the process by which young soldiers become unwitting fodder for their country's war effort.
	www.austinchronicle.com /gbase/Calendar/Film?Film=oid:142748 (516 words)

	Slant Magazine - Film Review: Hero
		The film is less narratively underwhelming but it's infinitely more dazzling and spiritually profound.
		Hero is essentially a chamber piece and it employs a Rashomon-like narrative mechanism throughout its 90 minutes that's every bit in service of the film as its sumptuous mise-en-scène, delirious pacing, and eye-popping aerial effects.
		Jet Li stars as Nameless, a warrior who may or may not be conspiring against a Qin warlord with the help of his three would-be assassins (the all-star triad is played by Donny Yen, Maggie Cheung, and Tony Leung).
	www.slantmagazine.com /film/film_review.asp?ID=659 (240 words)

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