It is deep, glamorous, amazing and has unique techniques”. (Bi Wen, Zhou 1)Martial arts is the quintessence of the Chinese nation, and its charm lies not only with a variety of technical skills, but more importantly is the color of Oriental culture. “Chinese martial arts film is a rare example in the film forest of the world, source of martial arts is the development of martial arts film”. ( Liang, Jia1) I think the core of Chinese martial arts films is martial arts, without martial arts, there is no Chinese martial arts film. Losing the martial arts, Chinese martial arts film will lose its unique Oriental charm.
These mixture of ideals comes from a clash between both the old fashion and modern style caused by globalization. Due to China’s globalization efforts and the blend of different era ideals, the movies that were made during that time showed a response to such occurrence. Crouching Tiger Hidden Dragon by Ang Lee and Crazy English by Zhang Yuan both are a response to that of globalization in China, and can be further
Hollywood studios in recent years have became very worried whether the Chinese government will allow its films to be played in China’s theaters. This is because most films are being banned by the government because they are not meeting their censors, which results in losing out on hundreds of millions if not billions of dollars in box office revenue. As was the case with Disney’s “Captain Philips,” which fell $9 million short of projections after Chinese regulators decided to reject the film because of its overly positive depiction of the U.S. military. In the past years the Chinese film market has been dominated by the Chinese Communist Party’s propaganda films. Chinese theaters started showing American movies only in 1994, when the government finally allowed The Fugitive to play in Chinese theaters.
The play is directed by Hong Kong award-winning director, Ann Hui (许鞍华) and scripted by Shanghai writer Wang Anyi (王安忆). Dance Drama: Lan Huahua by China Oriental Song and Dance Troupe Lan Huahua stands for the long story of tenacity of Chinese nation. Lan Huahua represents the magnificent poem of indomitable spirit of Chinese sons and daughters. Though beautiful Lan Huahua and handsome Yang Wuwa love each other deeply, they could not be together due to their poverty. At the Spring Festival fair, Zhou Laocai, a rich landlord, saw
The concern for both Chinese and international audiences tends to “liberate” the cinematic narrative from the ideological grip of the clichéd self/other rhetoric. Yet controversies around these commercially successful films in China indicate a rather ambivalent reception of their rewriting of the Nanjing Massacre from the government and the audiences alike. For instance, City of Life and Death enjoyed massive promotion through various channels of mainstream media, but its nomination for the 13th Chinese Huabiao Awards was pulled from contention a week before the awards cere- mony (Kraicer 2010). When the promotional material of The Flowers of War describes the Chinese actress’s bed scene with Christian Bale, many Chinese audiences frown at the inappropriateness of focusing upon sexuality in a patrio- tic epic. At the textual level, the constant oscillation between discourses of Chinese heroism and internationalism leads to narrative tensions and moral ambivalences.
1. Introduction A film is made in a particular context such as culture and society. Especially, road movie is strongly influenced by the culture of the location because it depicts people who travel real world rather than pure fantasy. Therefore, comparison of road movies which are filmed in different countries will lead to deep understanding of different culture. This paper attempts to consider distinctions of American culture and Japanese culture by comparing American movie and Japanese movie, and to contribute to cross-cultural understanding.
2.2.2 Analysis of Chinese stereotypes It is usually hard to avoid stereotypes in any representation of China or Chinese people in Western film. As argued in Part 1 of this thesis, stereotype is necessary in representation of the “Other” because we need ordered, fixed and simplified information for things we are not familiar with; we want to exclude things that are different to free ourselves from anxiety; it is always inequalities of power behind stereotypes. In Marco Polo themed films, there are many Chinese characters appear when Marco Polo travelled to China. However, the character Marco Polo in both films does not see Chinese people as stereotypes. In Montaldo’s Marco Polo, Marco observes many differences among different locations and he
One feature of Chan’s martial art movies is multiculturalism. He talks racial politics in a less serious way, but it does not mean that he is not concerned about these issues. He focuses more on cultural diversity not fighting for their differences. Chan brings some comedic elements to martial art movies and creates Kung Fu comedy. He uses comedy to perform complex political issues, which is very brilliant and “unwittingly deconstructs the hard bodies of masculinity projected by both the Kung Fu tragedy and the American action cinema” (Yuan).