By Meaghan Morris, Siu Leung Li, Stephen Chan Ching-Kiu
Hong Kong Connections brings best movie students jointly to discover the move of Hong Kong cinema in Japan, Korea, India, Australia, France, and the us, in addition to its hyperlinks with Taiwan, Singapore, and the chinese language mainland. within the technique, this assortment examines diversified cultural contexts for motion cinema’s attractiveness and the issues interested in the transnational examine of worldwide renowned types, suggesting that during order to understand the background of Hong Kong motion cinema’s impact we have to deliver out the diversities in addition to the hyperlinks that represent popularity.
Contributors. Nicole Brenez, Stephen Chan Ching-kiu, Dai Jinhua, David Desser, Laleen Jayamanne, Kim Soyoung, Siu Leung Li, Adrian Martin, S. V. Srinivas, Stephen Teo, Valentina Vitali, Paul Willemen, Rob Wilson, Wong Kin-yuen, Kinnia Yau Shuk-ting, Yung Sai-shing
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Additional resources for Hong Kong Connections: Transnational Imagination in Action Cinema
11 The works of the two foremost newstyle martial arts novelists, Liang Yusheng and Jin Yong, exerted a tremendous influence on the new-style wuxia pian produced in Hong Kong and Taiwan; Liang Yusheng's The fade Bow and Jin Yong's The Story of the Book and the Sword and Legend of the Brave Archer sparked a continuous line of screen adaptations, and there is little doubt that'the popularity of new-style martial arts novels was one of the main factors contributing to the birth of the new-style wuxiapian.
The sets of actions/skills centered on a chair or a table are sometimes labeled as yizigong and zhuozigong, the "chair skill" and the "table skill". A play that shows fabulous yizigong is Blocking the Horse (Dangmd), a wellknown piece from the contemporary Kunshan opera. Such traditional skills have been adjusted and then adopted in the action cinema. It is not difficult to identify fight scenes in Jackie Chan's movies involving chairs and tables, with the actors circling around these objects. For example, in Drunken Master, after the naughty Wong Fei-hung (Huang Feihong) (played by Jackie Chan) has successfully cheated his master Beggar So (played by Yuen Siu-tin), he meets the villain Yan Tiexin in a deserted temple.
As mentioned above, Chinese operatic art prioritizes the personal skills and artistry of an actor. Elaborate sets are not preferred or required for encouraging the audience to focus on the "Four Arts" of the actors. In this form of actor-oriented theatre, the actions and acting of the actors are privileged at the expense of theatrical spectacles — because the body and its action have become the spectacle. Such aesthetic principles and staging methods began to face new challenges at the turn of the last century, when Chinese encountered new modes of modern entertainment imported from the West.