- [UNTITLED]
- Contributors
- The Oxford Handbook of Film and Media Studies
- Introduction
- Digital Media and the Future of Filmic Narrative
- The Latest Laocoön: Medium Specificity and the History of Film Theory
- Visual Media and the Tyranny of the Real
- Radical Aspirations Historicized: The European Commitment to Political Documentary
- Loss of Light: The Long Shadow of Photography in the Digital Age
- Media Celebrity in the Age of the Image
- Film Genre Theory and Contemporary Media: Description, Interpretation, Intermediality
- <i>Gilda</i>: Textual Analysis, Political Economy, and Ethnography
- Television's First Seventy-five Years: The Interpretive Flexibility of a Medium in Transition
- “The End of TV As We Know It”: Convergence Anxiety, Generic Innovation, and the Case of <i>24</i>
- Screen Practice and Conglomeration: How Reflexivity and Conglomeration Fuel Each Other
- The Chinese Action Image and Postmodernity
- When Cute Becomes Scary: The Young Female in Contemporary Japanese Horror Cinema
- Asian Film and Digital Culture
- Popular Cinema and the “New” Media in India
- Dreaming with Open Eyes: Latin American Media in the Digital Age
- The Globalization of Filmmaking in Latin America and the Middle East
- Computers and Cultural Studies
- Film and Media Studies Pedagogy
- Copyright, Fair Use, and Motion Pictures
- Evolution of Modern-Day Independent Filmmaking
- The Digital Revolution
- Index
Abstract and Keywords
This article discusses the Chinese action image in global entertainment. It looks at the different phases Chinese action images have gone through over the years, from the first appearance of Jackie Chan and Bruce Lee to their incorporation within a Hollywood production. The article also examines the genealogy of the martial arts, or wu xia culture, in order to gain a full implication of the Chinese action images in postmodernity.
Keywords: Chinese action image, global entertainment, genealogy, martial arts, wu xia culture, postmodernity
Evans Chan (www.evanschan.com), New York-based critic and filmmaker, is originally from Hong Kong. Chan's filmography includes four narrative features: To Liv(e) (1991) , Crossings (1994) , Bauhinia (2002), and The Map of Sex and Love (2001)—and five documentaries, including Journey to Beijing (1998), Adeus Macau (2000), and The Life and Times of Wu Zhong Xin (2003). His most recent documentary, Sorceress of the New Piano, was released on DVD by Mode Records in 2008 and his filming of Tan's performance of George Crumb's Makrokosmos I & II can also be found on DVD. Chan has edited and translated (into Chinese) two books by Susan Sontag.
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- [UNTITLED]
- Contributors
- The Oxford Handbook of Film and Media Studies
- Introduction
- Digital Media and the Future of Filmic Narrative
- The Latest Laocoön: Medium Specificity and the History of Film Theory
- Visual Media and the Tyranny of the Real
- Radical Aspirations Historicized: The European Commitment to Political Documentary
- Loss of Light: The Long Shadow of Photography in the Digital Age
- Media Celebrity in the Age of the Image
- Film Genre Theory and Contemporary Media: Description, Interpretation, Intermediality
- <i>Gilda</i>: Textual Analysis, Political Economy, and Ethnography
- Television's First Seventy-five Years: The Interpretive Flexibility of a Medium in Transition
- “The End of TV As We Know It”: Convergence Anxiety, Generic Innovation, and the Case of <i>24</i>
- Screen Practice and Conglomeration: How Reflexivity and Conglomeration Fuel Each Other
- The Chinese Action Image and Postmodernity
- When Cute Becomes Scary: The Young Female in Contemporary Japanese Horror Cinema
- Asian Film and Digital Culture
- Popular Cinema and the “New” Media in India
- Dreaming with Open Eyes: Latin American Media in the Digital Age
- The Globalization of Filmmaking in Latin America and the Middle East
- Computers and Cultural Studies
- Film and Media Studies Pedagogy
- Copyright, Fair Use, and Motion Pictures
- Evolution of Modern-Day Independent Filmmaking
- The Digital Revolution
- Index
