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Hong kong action movie becomes the main source of global fame for the hong kong film industry logan salamanca. Hong kong action films are rooted in chinese and hong kong cultures, including chinese opera, storytelling and aesthetic traditions, which hong kong filmmakers combined with hollywood and japanese motion picture elements as well as the latest action choreography and filmmaking techniques to create a culturally distinctive outline that continued to have a wide transcultural attraction. Note that, hollywood action films were heavily influenced by hong kong genre conventions from the 1970s. The first hong kong action films favored the wuxia style, emphasizing mysticism and swordsmanship, but this trend was politically suppressed in 1930s and replaced by kung fu films that depicted more mundane unarmed martial arts, often featuring folk heroes like wong fei hung. Post-war cultural upheaval led to a second wave of wuxia films with highly acrobatic violence, followed by more violent kung fu films for which shaw brothers became best known. Hong kong for the 1970s–1990s. In the 1970s, kung fu films saw a resurgence during the rise and sudden death of bruce lee. He was succeeded in the 1980s by jackie chan, who popularized the use of comedy, inimitable stunts, and comfortable urban microclimates in action films, and by jet li, whose authentic wushu skills appealed to eastern as well as western audiences. The pioneering work of directors and producers such as tsui hark and john woo has brought optimal variety to genres like heroic bloodshed and gun fu films, as well as issues like triads and the supernatural. However, the entry of some leading figures into hollywood in the 1990s coincided with a recession in the industry. 1 early martial arts films (early 20th century) 2 post-war martial arts movies (1940s-early 1960s) 3 new school wuxia (late 1960s-early 1970s) 4 kung fu wave (1970s) 4.1 bruce lee 4.2 jackie chan and kung fu comedy 5 reinvention of the action movie (from the 1980s to the early 1990s) 5.1 jackie chan and current martial arts stunt action movies 5.2 tsui hark and cinema city 5.3 john woo and the triad films "heroic bloodshed" and "gang fu" 5.4 the wave of wirework 6 international influence6.1 first wave: kung fu craze (1970–1980s) 6.2 second wave: thrilling action films (1990– 2000s) 6.2.1 influence of heroic bloodshed and gang-fu films 7 departure of many leading figures (late 1990s-early 2000s ) 8 weeks old trends (late 1990s to present) 9 see also 10 notes 11 references 12 external links early martial arts films (early 20th century) martial arts films, the most famous of which were invented in hong kong. This genre first emerged in chinese popular literature. At the beginning of the twentieth century there was an explosion of wuxia novels (often translated as "combat chivalry"), which were widely published in newspapers like serials. These were alerts for heroic warriors with swords, often with the inclusion of mysticism or fantasy. The genre was quickly taken up by early chinese films, especially in shanghai, the film capital of the time. Beginning in the 1920s, wuxia titles, often adapted from novels (such as the burning of the red lotus monastery in 1928 and concrete eighteen sequels), were extremely popular and the genre dominated chinese films for several years.[1] ] The boom came to an end in the 1930s, sparked by official opposition from the cultural and political elite, especially the kuomintang government, who saw the propaganda of superstition and violent anarchy here.[2] wuxia film production began in hong kong, which at the time was a british colony with the most liberal economy and living conditions, as well as a developing film industry. The first martial arts film in cantonese, the predominant chinese spoken language in hong kong, was the decorated pavilion (1938). )[Edit] A scene from the wuxia film the palm of the buddha (1964). The magical chi beams are organized with crude hand-drawn animation. Towards the end of the 1940s, the turmoil in mainland china—the second sino-japanese war, the chinese civil war, and the victory of the chinese communist party—moved the center of film production to chinese in hong kong.The industry has continued the wuxia tradition in cantonese b-movies and serials, although the genre has generally been ignored by more modern mandarin cinema. Further cycle titles included the lutemaster of six fingers (1965) and sacred fire, heroic wind (1966). Films about kung fu, which are also filmed during this period. These tapes emphasized more "authentic", down-to-earth and unarmed combat rather than swordplay and wuxia mysticism. The most famous example was the true boxing master kwang tak hing; he was a kind hero to at least a couple of generations of hong kongers, playing the historical folk hero wong fei hung in a series of about a hundred films, from the true story of wong fei hung (1949) to the brave wong fei hung. Crushing the fire formation (1970) [3]. A number of enduring elements were introduced or solidified in these films: the hitherto popular character of "master wong"; the influence of chinese opera with its stylized martial arts and acrobatics; and the concept of boxing heroes as workers of confucian ethics. >part of a series on Chinese martial arts (wushu) Styles of chinese martial arts List of chinese martial arts Chinese martial arts +>Terms Chin na Fa ching Kung fu (term) Neigong Neijia Qi Qigong Shifu Yin and yang Historic sites Kunlun mountains Mount emei Mount hua Shaolin monastery Wudang mountains legendary figures Guan yu Bodhidharma Zhang sanfeng Fong sai-yuk Yim wing chun Li jing yuen Eight immortals Five elders Historical figures Emperor song taizu Yue fei Hung heigong Dong haichuan Yang luchang Chang heung Wu quanyou +>Wu ng fei-hong Sun lutang Li shuwen Ho yuanjia Wang zi-ping Chen faik Yip man The ten tigers of canton modern celebrities Bruce lee Bolo yeung Sammo hung Jackie chan Jet li Donnie yen Vincent zhao Zhang jin (actor) Dennis to Hong kong action Kung fu movie vietnamese martial arts Wushu (sport) In the second half of the 1960s, the largest studio of the time, shaw brothers, opened up a new generation of wuxia films, starting from xu zenghong's temple of the red lotus (1965), a remake of the 1928 classic. These masterpieces in chinese were more luxurious and colorful; their style was less fantastical and more intense, with the most confident and acrobatic violence. They were influenced by samurai films imported from japan and a wave of "new school" wuxia novels by authors such as jin yong and liang yusheng that began in the 1950s.[5-6] The wuxia wave of the new school marked the move of action movies devoted to the stronger sex into the organ of the hong kong tape, which was long dominated by female stars and genres aimed at a female audience, one of which includes novels and musicals. However, in the 1960s, female action stars like cheng pei-pei and connie chang po-chu were seen alongside male stars like former swimming champion jimmy wang yu, and they continued the old tradition of women- warriors in wuxia culture. Period were chang che with one-armed swordsman (1967) and golden swallow (1968) and king hu with let's drink with me (1966). Hu soon left shaw brothers to pursue his personal wuxia vision with independent productions in taiwan, such as the hugely successful dragon inn (1967, also known as dragon gate inn) and a touch of zen, which was nominated for the palme d'or in 1975. . Cannes film festival.[7] chang remained and remained shaw's prolific star director until the early 1980s. The kung fu wave (1970s)[edit] See see also: kung fu movie, chopsokies and martial arts moviein the early 1970s, wuxia gave way to a new, grittier and more graphic (and mandarin-speaking) iteration of the kung fu movie that came to dominate the decades and into the early 1980s. Seriously trained martial artists such as ti lung and gordon liu became one of the main stars because most of the time was devoted to martial arts. The chinese boxer (1970), starring and directed by jimmy wang yu, is widely credited for starting the kung fu boom. But at the forefront, at least initially, were the show brothers and director chang cheh.Chang's revenge (1970) was another early trendsetter, and his dozens of credits included the boxer of shantung (1972), the two heroes (1974), five deadly poisons (1978) and the mutilating avengers (1979). Kung fu cinema was particularly influenced by chang's concern for his vision of male values and male friendship; [8] the figures of female warriors that were prominent in wuxia work of the late 1960s were relegated to the background, with notable exceptions such as the popular angela mao. >Chang's only competitor as an ordinary influential director of this sort was his longtime action choreographer lau kar leung (also known as liu chia liang in chinese). Lau began directing his personal films for the show brothers in 1975 with spirit boxer, the progenitor of kung fu comedy. In subsequent films, they may be "shaolin executioners" (1977), "36th chamber of shaolin" (1978) and "the legendary weapon of china" (1982), lau emphasized the life and philosophy of martial arts and sought to give the fighting on the monitor greater authenticity and even greater significance. Speed and complexity.[3] The kung fu boom was partly fueled by huge international popularity, and not just in eastern asia. In the west, kung fu imports, dubbed, often remastered and retitled, shown as "b" films in municipal cinemas and television, made hong kong films widely known, though not widely respected, for the first time. African americans especially embraced this genre (of which the popular hip-hop group the wu-tang clan is exemplified) realistically as an almost unparalleled source of adventure stories with non-white heroes who also often displayed a strong streak of racial and/or nationalist pride.[9] The popularity of these action films in north america continued until the 1980s, when ninja movies were offered. In celebrity culture, the films of that era were colloquially referred to as kung fu theater or black belt theatre, names that many independent stations adopted for their weekly broadcast. Was a significant departure from the kung fu films for which the studio was known. "Brothers" is a crime drama about two brothers who stand on different positions of the law. It was a remake of the indian crime drama dewaar (1975) written by salim-javed. Accordingly, the brothers laid the foundation for the heroic gore genre in hong kong cinema in the 1980s, inspiring john woo's breakthrough film a better tomorrow (1986).[11] Bruce lee[edit] ]See see also: the exploitation of bruce , boxing master and actor. Lee starred in only 4 films before his death at the age of 32: the big boss (1971), fist of fury and the way of the dragon (both 1972) and dragon access (1973). Oriental film historian patrick macias attributes his success to "(bringing) the martial spirit of the past into our age ... Developing one's own fighting style ... And possessing superhuman charisma." His main three films have broken local box office records and have been successful in numerous countries around the world. "Fist of fury" and "road of the dragon" have collected approximately 100 and 130 million greenbacks in the world, respectively. The hong kong co-production grossed an estimated us$350 million worldwide,[14] making it the most internationally successful film from the region. Also his decision to work at a young, fledgling golden harvest studio from the start not to accept shaw's infamous stingy standard contract was a factor in golden harvest's meteoric rise and shaw's eventual demise. > Jackie chan and the kung fu comedy like many kung fu performers since then, chan graduated from the peking opera and began to participate in films as a stuntman, especially in certain lee cars. For several minutes the big boss and fist of fury director lo wei prepared him as an additional lee clone in a number of films, including new fist of fury (1976), with little success. However, in 1978, chan teamed up with action choreographer yuen wu ping in yuen's directorial debut, the serpent in the eagle's shadow. The resulting mix of physical comedy and kung fu action gave chan his first hit and the rudiments of food that would become his signature style. Chan's follow-up with yuen, the drunken master (also 1978) and concrete's directorial debut fearless hyena (1979) also became hits and cemented his popularity.[3] Sammo hung as a wise master on the screen of tsui hark's "zu warriors from magic mountain" 1983. White eyebrows refer to extraordinary strength on the part of the character. While these pictures weren't the first kung fu comedies, they set in motion a fad that helped revive the dying kung fu genre.Particularly notable in this regard were two of chan's classmates at the peking opera school, sammo hong and yuen biao, who also made careers in the field, sometimes playing alongside chan. Hung, known for the seeming paradox of his overweight and physical dexterity, also from the beginning made a name for himself as an action director and choreographer, directing titles such as enter the fat dragon (1978). [Citation needed] The invention of the new action movie (1980s-early 1990s)[edit]chan's clowning may have helped prolong the life of the kung fu wave a great distance. But, towards the end of the boom, he proved to be a star and in a short time helped the colony to move on to a new type of activity. In the 1980s, he and a bunch of his co-workers created a more impactful hong kong pop cinema that would have rivaled post-star wars american summer blockbusters. Jackie chan and current martial arts the young master (1980) [16] and most notably the dragon master (1982) [17] which features a fight scene in a pyramid that holds the record for the most takes needed for a single scene, with 2,900 takes [of legal age and final fight. A scene in which he performs various stunts, even one in which he does a backflip from the attic and falls to the lower level. By 1983, chan began making action films, which, while again using martial arts, were less limited in scope, setting, and plot, with an emphasis on complex but dangerous stunt scenes. In his first film in such an important way, "project a" (1983), jackie chan's stunt team was officially formed, and complex, dangerous stunts and typical farcical humor were added to the fights (at a certain point, chan falls from the top of the clock tower) . Through a series of fabric awnings). The new formula helped project a collect more than 19 million hong kong kroner in hong kong [20] and much more: in other asian countries, including japan, here it collected 2.95 billion yen and became the main of the high-grossing films of 1984. Winners and sinners (1983) also features an elaborate and intuitive sequence of actions in which chan skates on a busy road, including a risky stunt when he slips under a truck. Chan continued stick to the approach - and budgets - to the newest heights in serial hits like police story (1985), which is one of the greatest action movies of all time. Here is chan dangling from a speeding bus, destroying much of the hillside slum, fighting in a furniture store, shattering many screen glass panes, and sliding down a pole covered in exploding light bulbs. The latter is recognized as one of the greatest stunts in action movie history. The sequel to 1988 required explosions on the scale of many hollywood films, and special injuries to the main character, maggie cheung, an occupational hazard to which chan was already accustomed. Thus, jackie chan created the "layout" for a 1980s modern urban action comedy, bringing together cops, kung fu, and the full potential of the modern metropolis with its glass, metal, and speeding cars.[24] John is right in 2005 As a producer, tsui hark contributed to john woo's seminal gory film a better tomorrow (1986). Wu's saga of cops and triads (chinese gangsters) combined whimsically choreographed (and very violent) gunplay (referred to as gun fu) with heightened emotional melodrama, sometimes reminiscent of the 1970s version of kung fu movies in the fresh attire of mentor wu chan che. Formula broke another record at the box office.It also launched the insecure career of co-star chow yun-fat, who is instantly one of duringduringduringduringduringduringduringduringduringduringduringduringduring duringduringduringduringduringduringduringduringduring martial arts stars like jean-claude van damme, steven seagal and chuck norris), as well as the more general integration of asian boxing into western action films, and television shows by the 1990s. Lines and characters continue to influence storytellers to this day, and this influence was especially felt in the revolutionary way the film portrayed african americans, asians, and traditional martial arts." Films such as enter the dragon were influential in how they presented "an elementary story of good versus evil in such a spectacle-packed way". [33] In japan, the manga and anime franchises fist of the north star (1983–1988) and dragon ball (1984–1995) were influenced by hong kong martial arts films, especially kung fu films from the 1970s, such as bruce lee's enter the dragon and jackie chan's drunken master (1978).[34][35] in turn, the fist of the polar princess of our time and especially dragon ball have been setting the trend for popular shounen manga and animated films since the 1980s.[36][37] exactly how hong kong martial arts films influenced bollywood masala films in india. Following the success of bruce lee films (such as enter the dragon) in india [39], deewaar (1975) and later bollywood films included action scenes inspired by hong kong martial arts films from the 1970s until well into the 1990s. Bollywood action scenes emulated hong kong rather than hollywood, emphasizing acrobatics and stunts and combining kung fu (in the indian mindset) with indian martial arts such as pahlwani.[41] Hong kong martial arts films such as enter the dragon served as the foundation for fighting games. The street fighter video game franchise (1987 debut) was inspired by enter the dragon, where the gameplay is centered around an international fighting tournament and each character has a unique combination of ethnicity, nationality, and fighting style. Street fighter became a model for many subsequent fighting games. An early beat 'em up kung-fu master (1984) was also based on bruce lee's game of death (1972) and jackie chan's wheels on meals (1984).[44] The success of bruce lee's films helped popularize the concept of mixed martial arts (mma) in western europe through his system of jeet kune do. In 2004, ultimate fighting championship (ufc) founder dana white called lee "the father of mixed martial arts." Parkour was also influenced by jackie chan's acrobatic antics in his hong kong action films[46][47] as well as the philosophy of bruce lee[48]. )[Edit] This section needs additional references for confirmation. Please help improve this article by adding links to great sources. Non-original material may be challenged and removed. (May 2018) (learn when to delete this template message) See see also: jackie chan, gun fu, girls with guns and wire fuhong kong action film innovation in the 1980s hong kong not only made hong kong the dominant cinema in east asia, but also aroused western interest. By the 1990s, there was a second "asian invasion" from the hong kong action film, strongly influencing and resurrecting the hollywood action film. There has been a significant shift of hong kong action stars, creators, and choreographers from hong kong to hollywood, a bonus to the smooth introduction of hong kong action production technology into hollywood. The mass acceptance of hong kong action movie conventions has been called the "hong kong modification" of hollywood. Tsui hark's "peking opera blues" (1986) had already turned into a cult hit as soon as wu's "killer" (1989) developed a limited but successful release in america and opened the floodgates. In the 1990s, westerners seeking "alternative" culture became commonplace in chinatown video stores and cinemas, and gradually films became more available in the mainstream video market and occasionally in mainstream theaters. Western critics and film scholars have also begun to be wary of the hong kong action movie and have made many key figures and films part of their world cinema canon. From here, hong kong has come to define a new vocabulary for the world action movie with the help of a new generation of north american filmmakers.Quentin tarantino's reservoir dogs (1992) was inspired by city on fire, and his two-part film kill bill (2003–2004) was a prominent homage to fights, in which yuen woo-ping was cast as fight choreographer and actor. Robert rodriguez's desperate (1995) and its 2003 follow-up long time in mexico emulated wu's visual mannerisms. The wachowski sisters' the matrix trilogy (1999–2003) of blockbuster sci-fi action films borrowed from them about wu and wire foo, but also used yuen behind the scenes. A number of hollywood action stars have also adopted the hong kong practice of learning to fight and doing their own stunts, such as keanu reeves, uma thurman and jason statham. Martin scorsese's crime film the departed (2006) was a remake of the infernal affairs trilogy (2002-2003) by andrew lau and alan mack. Fu Main articles: heroic bloodshed and gan-futhe heroic bloodshed genre has had a significant impact on international cinema, especially hollywood.[51] the action, style, methods and mannerisms established in the hong kong heroic bloodshed films of the 1980s were later highly adopted by hollywood in the 1990s, changing the way hollywood action films were produced. Llam's city on fire (1987) inspired quentin tarantino's reservoir dogs (1992); tarantino was a fan of the heroic bloodshed genre.[53] the killer also heavily influenced luc besson's léon: the professional (1994). As a result, john woo himself introduced his brand of heroic gore to hollywood in the 1990s. By the end of the 1990s, wu's style of cinema was firmly established in hollywood. Newfound international exposure to hong kong films in the 1980s and early 1990s and an industry decline in the 1990s, most of the world's hong kong film luminaries left for hollywood, which offered budgets and pay that did not stay equal hong kong production companies . John woo left for hollywood as soon as he appeared on the screen of "hardboiled" in 1992. His 1997 film face/off was the breakthrough that established his unique style in hollywood. This work enjoyed great fame both among critics and among the public at all (it collected more than 240 million us dollars all over the world). Mission: impossible 2 (2000) grossed over us$560 million worldwide. After these two films, wu struggled to return to his own successes in the 1980s and early 1990s. Jackie chan's 1995 us film showdown in the bronx finally brought him recognition in the united states of america. Since then, he has made several highly successful films for american studios, including rush hour (1998), shanghai noon (2000) and their respective downtown sequels. 2 (2001), "shanghai knights" (2003) and peak timeslot 3 (2007). Between his films for american studios, he still makes porn films for hong kong studios, sometimes in english (mr. Sometimes also in cantonese ("new police" 2004). Historical events and rob-b-hood 2006). Due to its substantial recognition in the us, these commercials are most often found in the us, which is undoubtedly a rarity for hong kong films and in most cases attracts a respectable audience. Jet li has reduced production in hong kong since 1998 . Instead, hitman focused on hollywood. After a minor role in lethal weapon 4 (1998), he starred in various hollywood films that proved to be solid and made him a name with american audiences. He also returned to chinese cinema with only 2 films: "hero" (2002) and "fearless" (2006). He said that fearless would be his last traditional kung fu film. Chow yun-fat also moved to hollywood. Since his own story, 1995's hotel world, he's directed several films in hollywood that haven't been as successful as jet li's, including the replacement killers (1998), the corruptor (1999), anna and tsar (1999) and bulletproof monk (2003). He returned to china to film crouching tiger hidden dragon at the beginning of this millennium and 2006's curse of the golden flower. The sharp decline since the mid-1990s the volume of locally produced films which box-office receipts are falling sharply american imports now dominate because they have not been for decades, and perhaps not at all this crisis and increased contact with western cinema has probably had the most impact on hong kong action cinema now.Action movies are now usually headlined by baby-faced cantonese pop idols like ekin cheng and nicholas tse, enhanced by wires and digital effects, a trend also fueled by the fading of the previous generation of martial arts-trained stars. The late 1990s saw a craze for cantopop stars in high-tech, more american action films such as torpedoes in the capital city (1997), generation x police and purple storm (both 1999). Andrew lau's wuxia comic adaptation riders of the storm (1998) hit box office records and ushered in an era of computer-generated imagery that had previously been little used in hong kong films. However, tsui hark's lavish efforts, enhanced by cgi, time and tide (2000) and the legend of zu (2001), were surprisingly unsuccessful. Conventions to the cartoon level in shaolin soccer (2001) and kung fu hustle (2004), both of which also set new box office records. Crime films more restrained and actor-driven than previous john woo-inspired examples. The milkyway image industry organization has been placed at the forefront with examples such as patrick yau's expect the unexpected (1998), johnny to's mission (1999) and the end of time (1999). Andrew lau and alan mack's infernal affairs trilogy (2002-2003) started a mini-trend of brooding cop thrillers.[Link needed] Cooperation with similar industries, primarily mainland china is another increasingly common self-preservation and recovery strategy. Hong kong stars and other staff have been involved in international wuxia successes such as crouching tiger, hidden dragon (2000), hero (2002) and flying dagger cottage (2004). Impact by listening to music Khalil fong's dangerous world (2014) [57] and black mirror mc

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