In The Martial Arts Cinema of the Chinese Diaspora, Kin-Yan Szeto critically examines three of the most internationally famous martial arts film artists to arise out of the Chinese diaspora and travel far from their homelands to find commercial success in the world at large: Ang Lee, John Woo, and Jackie Chan. Positing the idea that these filmmakers' success is evidence of a "cosmopolitical awareness" arising from their cross-cultural ideological engagements and geopolitical displacements, Szeto demonstrates how this unique perspective allows these three filmmakers to develop and act in the transnational environment of media production, distribution, and consumption. Beginning with a historical retrospective on Chinese martial arts films as a diasporic film genre and the transnational styles and ideologies of the filmmakers themselves, Szeto uses case studies to explore in depth how the forces of colonialism, Chinese nationalism, and Western imperialism shaped the identities and work of Lee, Woo, and Chan. Addressed in the volume is the groundbreaking martial arts swordplay film that achieves global success-Ang Lee's Crouching Tiger, Hidden Dragon- and its revelations about Hollywood representations of Asians, as well as concepts of male and female masculinity in the swordplay film tradition. Also investigated is the invigoration of contemporary gangster, thriller, and war films by John Woo, whose combination of artistic and historical contexts has contributed to his global success. Szeto then dissects Chan's mimetic representation of masculinity in his films, and the influences of his Chinese theater and martial arts training on his work. Szeto outlines the similarities and differences between the three artists' films, especially their treatments of gender, sexuality, and power. She concludes by analyzing their films as metaphors for their working conditions in the Chinese diaspora and Hollywood, and demonstrating how through their works, Lee, Woo, and Chan communicate not only with the rest of the world but also with each other. Far from a book simply about three filmmakers, The Martial Arts Cinema of the Chinese Diaspora investigates the transnational nature of films, the geopolitics of culture and race, and the depths of masculinity and power in movies. Szeto's interdisciplinary approach calls for nothing less than a paradigm shift in the study of Chinese diasporic filmmakers and the embodiment of cosmopolitical perspectives in the martial arts genre.

This is the first comprehensive, fully-researched account of the historical and contemporary development of the traditional martial arts genre in the Chinese cinema known as wuxia (literal translation: martial chivalry) - a genre which audiences around the world became familiar with through the phenomenal 'crossover' hit Crouching Tiger, Hidden Dragon (2000). The book unveils rich layers of the wuxia tradition as it developed in the early Shanghai cinema in the late 1920s, and from the 1950s onwards, in the Hong Kong and Taiwan film industries. Key attractions of the book are analyses of:*The history of the tradition as it began in the Shanghai cinema, its rise and popularity as a serialized form in the silent cinema of the late 1920s, and its eventual prohibition by the government in 1931.*The fantastic characteristics of the genre, their relationship with folklore, myth and religion, and their similarities and differences with the kung fu sub-genre of martial arts cinema.*The protagonists and heroes of the genre, in particular the figure of the female knight-errant.*The chief personalities and masterpieces of the genre - directors such as King Hu, Chu Yuan, Zhang Che, Ang Lee, Zhang Yimou, and films such as Come Drink With Me (1966), The One-Armed Swordsman (1967), A Touch of Zen (1970-71), Hero (2002), House of Flying Daggers (2004), and Curse of the Golden Flower (2006).

This revised and updated new edition provides a comprehensive introduction to the history of cinema in mainland China, Hong Kong and Taiwan, as well as to disaporic and transnational Chinese film-making, from the beginnings of cinema to the present day. Chapters by leading international scholars are grouped in thematic sections addressing key historical periods, film movements, genres, stars and auteurs, and the industrial and technological contexts of cinema in Greater China.

This book unravels the mystery behind Chinese martial arts, or wushu, an exotic branch of traditional Chinese culture. It traces how the rough and ready brawls of Chinese cavemen matured into the polished gongfu of Shaolin and Wudang warriors. But the art of gongfu is more than just martial abilities - it is also about a philosophy and chivalry code. This volume sheds light on the legend of Bruce Lee and the Yue Maiden Sword.

Chinese martial arts have a long, meaningful history and deep cultural roots. They blend the physical components of combat with strategy, philosophy and tradition, distinguishing them from Western sports. A History of Chinese Martial Arts is the most authoritative study ever written on this topic, featuring contributions from leading Chinese scholars and practitioners. The book provides a comprehensive overview of all types of Chinese martial arts, from the Pre-Qin Period (before 222 BC) right up to the present day in the People’s Republic of China, with each chapter covering a different period in Chinese history. Including numerous illustrations of artefacts, weaponry and historical drawings and documents, this book offers unparalleled insight into the origins, development and contemporary significance of martial arts in China. This is a fascinating read for researchers and students working in sports history, Chinese sport and Chinese Studies.

Grandmaster Ng Wai Hong, founding father of present day Fu-Jow Pai Kung-Fu and leader of the Chinese Kung-Fu vanguard who entered the world martial arts arena, has received more than nine Hall of Fame awards & medals; such as "Warrior", "Pioneer", Man of the Year, and Lifetime achievement awards. He was also named as one of the best in the past hundred years and rated as the most influential martial artist in the past 30 years by Inside Kung-Fu Magazine. (ENGLISH LANGUAGE EDITION)

The themes in this book—drawn from Chinese history, culture, and martial arts experience—are entwined in a fictional narrative to animate events envisaged to have occurred during the mid-eighteenth century. From the outset, a thin veil separates fact from fiction. Our story starts with a discovery. While conducting research at the Vatican Library on the Jesuit missions in China, two scholars find a folder of papers written in Chinese among documents belonging to Giuseppe Castiglione (1688–1766), a painter at the royal court in Beijing. The papers turn out to be written by a fellow court painter, Yang Mingbin (c. 1664–1765). Yang’s handwritten essays provide revelations vital for understanding the ingenuity of Chinese martial arts. Yang’s text is organized under sixty-four subheadings. The author elucidates theory and practice methods in a fashion unlike any other writings on this subject. This is a rare early text written during a transitional period for martial arts. It is the time when the Qing Dynasty (1644 to 1912) was at its peak of cultural splendor and expanding its borders by military expeditions. Cannons and smaller firearms show the Western influence, but traditional martial arts were ubiquitous in the village, province, and national levels. Master Yang offers fascinating reading on all aspects of the Chinese fighting traditions. He places great emphasis on the importance of the “martial arts family” and the role of secrecy in lethal arts. The arts are also adapted for health and entertainment. All reflect an infusion of philosophy and practices from Buddhism, Daoism, and Confucianism. How one thinks affects how one practices martial arts. Yang describes the qualities associated with different skill levels, from beginner to most advanced. As he does this, we learn secrets that set forth key ways for improving defensive and offensive applications. These topics include body alignment, coordination, spontaneity, naturalness, balance, distancing, relaxation, and power. The same principles apply to bare-hand and weapons practice, as well as martial arts for health. Yang’s learning methodology for studying martial arts can be useful in other areas, as in his work as a master painter at court.