Advertisement

Martial Arts Fantasies in a Globalized Age: Kung Fu Hustle and Kung Fu Panda

  • Jing Yang
Chapter

Abstract

The surge of martial arts films at the dawn of the twenty-first century has witnessed various generic transformations. Stephen Chow’s hilarious Kung Fu Hustle (2004) and Dreamwork’s animation Kung Fu Panda (2008) embody contemporary trends to rejuvenate the classic martial arts genre for worldwide audiences. The artistic hybridity and the alignment of computer-generated special effects and the kung fu body in both films utilize the classic genre to construct a sense of fluidity for global consumers. The chapter examines the dynamic tensions in rewriting martial arts cinema to explore the multifarious efforts to engage audiences in a globalized context.

Keywords

Martial arts cinema Artistic hybridity Digitalized body Ambiguity Globalization 

Bibliography

  1. Abbas, Ackbar. 2003. Cinema, the City, and the Cinematic. In Global Cities: Cinema, Architecture, and Urbanism in a Digital Age, ed. Linda Krause and Patrice Petro, 142–156. New Brunswick, NJ and London: Rutgers University Press.Google Scholar
  2. Altman, Rick. 1984. A Semantic/Syntactic Approach to Film Genre. Cinema Journal 23: 6–12.CrossRefGoogle Scholar
  3. Ashcroft, Bill, Gareth Griffiths, and Helen Tiffin. 2006. The Post-colonial Studies Reader. London and New York: Routledge.Google Scholar
  4. Bhabha, Homi. 1994. The Location of Culture. New York: Routledge.Google Scholar
  5. Bordwell, David. 2000. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge, MA: Harvard University Press.Google Scholar
  6. Chan, Kenneth. 2009. Remade in Hollywood: The Global Chinese Presence in Transnational Cinemas. Hong Kong: Hong Kong University Press.Google Scholar
  7. Chen, Nan. 2008. Po Power for Panda Film. http://en.people.cn/90001/90782/6432498.html. Accessed 15 Feb 2018.
  8. Chow, Vivienne, and Agencies. 2005. Kung Fu Hustle Flies High in US Opening. South China Morning Post [Hong Kong], April 13.Google Scholar
  9. Chung, Hye Jean. 2012. Kung Fu Panda: Animated Animal Bodies as Layered Sites of (trans)National Identities. Velvet Light Trap 69: 27–37.CrossRefGoogle Scholar
  10. Glaessner, Verina. 1974. Kung Fu: Cinema of Vengeance. London: Lorrimer.Google Scholar
  11. Hitchcock, Peter. 2007. Niche Cinema, or, Kill Bill with Shaolin Soccer. In Hong Kong Film, Hollywood and the New Global Cinema, ed. Gina Marchetti and Tan See Kam, 219–232. London: Routledge.Google Scholar
  12. Ho, Sam. 2005. Review: Kung Fu Hustle. Film Comment, March/April.Google Scholar
  13. Hunt, Leo. 2003. Kung Fu Cult Masters. London and New York: Wallflower Press.Google Scholar
  14. Huyssen, Andreas. 1986. After the Great Divide: Modernism, Mass Culture, Postmodernism, Theories of Representation and Difference. Bloomington: Indiana University Press.CrossRefGoogle Scholar
  15. Kaminsky, M. Stuart. 1976. Genres of Violence. In Graphic Violence on the Screen, ed. Thomas R. Atkins, 46–67. New York: Simon and Schuster.Google Scholar
  16. Kaufman, Anthony. 2006. Is Foreign Film the New Endangered Species? The New York Times, January 22.Google Scholar
  17. Landreth, Jonathan. 2011. The Panda Express. Hollywood Reporter, March 25.Google Scholar
  18. Lee, Vivian. 2007. Virtual Bodies, Flying Objects: The Digital Imaginary in Contemporary Martial Arts Films. Journal of Chinese Cinemas 1: 9–26.CrossRefGoogle Scholar
  19. Leung, Grace, and Joseph M. Chan. 1997. The Hong Kong Cinema and Its Overseas Market: A Historical Review 1950–1995. In Fifty Years of Electric Shadows, ed. Law Kar, 143–149. Hong Kong: Hong Kong International Film Festival/Urban Council.Google Scholar
  20. Lo, Kwai Cheung. 1996. Muscles and Subjectivity: A Short History of the Masculine Body in Hong Kong Popular Culture. Camera Obscura 39: 104–125.CrossRefGoogle Scholar
  21. Lu, Chuan. 2008. Kung Fu Panda Gives Food for Thought. China Daily, July 5.Google Scholar
  22. Magnan-Park, Aaron Han Joon. 2011. Restoring the Transnational from the Abyss of Ethnonational Film Historiography: The Case of Chung Chang Wha. Journal of Korean Studies 16: 249–283.Google Scholar
  23. Pang, Laikwan. 2006. Cultural Control and Globalization in Asia: Copyright, Piracy, and Cinema. London and New York: Routledge.Google Scholar
  24. Papastergiadis, Nikos. 2000. The Turbulence of Migration: Globalization, Deterritorialization and Hybridity. Cambridge and Malden, MA: Polity Press and Blackwell.Google Scholar
  25. Scott, A.C. 1983. The Performance of Classical Theater. In Chinese Theater: From Its Origin to the Present Day, ed. Colin Mackerras, 118–144. Honolulu: University of Hawaii Press.Google Scholar
  26. Sek, Kei. 1980. A Development of Martial Arts in Hong Kong Cinema. In A Study of the Hong Kong Martial Arts Films, ed. Lau Shing Hon, 27–38. Hong Kong: The Urban Council.Google Scholar
  27. Stone, Jay. 2005. Martial Arts Goes Haywire in Kung Fu Hustle. The Vancouver Sun, April 22.Google Scholar
  28. Teo, Stephen. 1997. Hong Kong Cinema: The Extra Dimensions. London: British Film Institute.Google Scholar
  29. Teo, Stephen. 2009. Chinese Martial Arts Cinema: The Wuxia Tradition. Edinburgh: Edinburgh University Press.CrossRefGoogle Scholar
  30. Wang, Georgette, and Emilie Y. Yeh. 2005. Globalization and Hybridization in Cultural Products: The Cases of Mulan and Crouching Tiger, Hidden Dragon. International Journal of Cultural Studies 8: 175–193.CrossRefGoogle Scholar

Filmography

  1. A Touch of Zen (侠女). Directed by King Hu. 1970.Google Scholar
  2. Bloodsport. Directed by Newt Arnold. 1988.Google Scholar
  3. Buddha’s Palm (如来神掌). Directed by Yun Ling. 1964.Google Scholar
  4. Bulletproof Monk. Directed by Paul Hunter. 2003.Google Scholar
  5. Burning of the Red Lotus Monastery (火烧红莲寺). Directed by Shichuan Zhang. 1928.Google Scholar
  6. Charlie’s Angels. Directed by McG, 2000.Google Scholar
  7. Charlie’s Angels: Full Throttle. Directed by McG, 2003.Google Scholar
  8. Come Drink with Me (大醉侠). Directed by King Hu. 1966.Google Scholar
  9. Crouching Tiger, Hidden Dragon (卧虎藏龙). Directed by Ang Lee. 2000.Google Scholar
  10. Dragon (武侠). Directed by Peter Ho Sun Chan. 2011.Google Scholar
  11. Dragon Blade (天将雄师). Directed by Daniel Lee. 2015.Google Scholar
  12. Enter the Dragon. Directed by Robert Clouse. 1973.Google Scholar
  13. Fist of Legend (精武英雄). Directed by Gordon Chan. 1994.Google Scholar
  14. Hero (英雄). Directed by Yimou Zhang. 2002.Google Scholar
  15. Ip Man (叶问). Directed by Wilson Yip. 2008.Google Scholar
  16. Kickboxer. Directed by Mark DiSalle and David Worth. 1989.Google Scholar
  17. Kill Bill: Vol. 1. Directed by Quentin Tarantino. 2003.Google Scholar
  18. Kill Bill: Vol. 2. Directed by Quentin Tarantino. 2004.Google Scholar
  19. Kung Fu Hustle (功夫). Directed by Stephen Chow. 2004.Google Scholar
  20. Kung Fu Panda. Directed by Mark Osborne and John Stevenson. 2008.Google Scholar
  21. Lady Knight Li Feifei (女侠李飞飞). Directed by Zuiwong Shao. 1925.Google Scholar
  22. Lethal Weapon 4. Directed by Richard Donner. 1998.Google Scholar
  23. Mulan. Directed by Tony Bancroft and Barry Cook. 1998.Google Scholar
  24. Mulan II. Directed by Darrell Rooney and Lynne Southerland. 2004.Google Scholar
  25. My Beloved Bodyguard (我的特工爷爷). Directed by Sammo Kam Bo Hung. 2016.Google Scholar
  26. Nacho Libre. Directed by Jared Hess. 2006.Google Scholar
  27. Once Upon a Time in China (黄飞鸿). Directed by Hark Tsui. 1991.Google Scholar
  28. Once Upon a Time in China II (黄飞鸿: 男儿当自强). Directed by Hark Tsui. 1992.Google Scholar
  29. Once Upon a Time in China III (黄飞鸿: 狮王争霸). Directed by Hark Tsui. 1993.Google Scholar
  30. Once Upon a Time in China IV (黄飞鸿: 王者之风). Directed by Hark Tsui. 1993.Google Scholar
  31. Once Upon a Time in China V (黄飞鸿: 龙城歼霸). Directed by Hark Tsui. 1994.Google Scholar
  32. Once Upon a Time in China VI (黄飞鸿: 西域雄狮). Directed by Hark Tsui. 1997.Google Scholar
  33. Romeo Must Die. Directed by Andrzej Bartkowiak. 2000.Google Scholar
  34. Rush Hour. Directed by Brett Ratner. 1998.Google Scholar
  35. Rush Hour 2. Directed by Brett Ratner. 2001.Google Scholar
  36. Rush Hour 3. Directed by Brett Ratner. 2007.Google Scholar
  37. Shaolin Wooden Men (少林木人巷). Directed by Chi Hwa Chen. 1976.Google Scholar
  38. Sidekicks. Directed by Aaron Norris. 1992.Google Scholar
  39. The Assassin (刺客聂隐娘). Directed by Hsiao-hsien Hou. 2015.Google Scholar
  40. The Chinese Connection (精武门). Directed by Wei Lo. 1972.Google Scholar
  41. The Forbidden Kingdom. Directed by Rob Minkoff. 2008.Google Scholar
  42. The Furious Buddha’s Palm (如来神掌怒碎万剑门). Directed by Yun Ling. 1965.Google Scholar
  43. The Grandmaster (一代宗师). Directed by Kar Wai Wong. 2013.Google Scholar
  44. The Holiday. Directed by Nancy Meyers. 2006.Google Scholar
  45. The Karate Kid. Directed by Harald Zwart. 2010.Google Scholar
  46. The Man with the Golden Gun. Directed by Guy Hamilton. 1974.Google Scholar
  47. The Matrix. Directed by Lana Wachowski and Lilly Wachowski. 1999.Google Scholar
  48. The Matrix Reloaded. Directed by Lana Wachowski and Lilly Wachowski. 2003.Google Scholar
  49. The Matrix Revolutions. Directed by Lana Wachowski and Lilly Wachowski. 2003.Google Scholar
  50. The One-Armed Swordsman (独臂刀). Directed by Cheh Chang. 1967.Google Scholar
  51. The Untouchables. Directed by Brian De Palma. 1987.Google Scholar
  52. Tomorrow Never Dies. Directed by Roger Spottiswoode. 1997.Google Scholar
  53. Top Hat. Directed by Mark Sandrich. 1935.Google Scholar
  54. Warriors of Heaven and Earth (天地英雄). Directed by Ping He. 2003.Google Scholar
  55. Way of the Dragon (猛龙过江). Directed by Bruce Lee. 1972.Google Scholar
  56. Zu Warriors (蜀山传). Directed by Hark Tsui. 2001.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Jing Yang
    • 1
  1. 1.Guangdong University of Foreign StudiesGuangzhouChina

Personalised recommendations