The Modern Hong Kong Cinemas - Research Paper Example

Analysis of Hong Kong Movies Introduction The analysis of Hong Kong movies may be presented in the light of a contemporary movie Once Upon A Time inChina (1993). Tsui Hark directs the film. The film is set in a conflicting Republic of China vehemently protesting against the western influence. Jet Li is given the central role in playing the character of Wong Fei-Hong who is found defending against the communal invasion over the traditional sentiments of China. (Teo, 169-174) In the light of the above film the paper endeavors to put before an analysis of the Hong Kong Cinema Industry. It is observed that technological advancements and changes brought about in the media industry have changed the face of Chinese Martial Arts. Moreover the martial art of Kung Fu widely acclaimed in China is found to act as a common stunt piece for many Chinese, Japanese and Hollywood films. Further observation made suggests that the Chinese martial art form, Kung Fu has earned a figure statement. With Kung Fu mostly masculine bodies with high power muscles earning a spectacular vision is mostly tied to. Thus, the martial art of Kung Fu has been associated to a body genre accompanied by heavy sound effects like shrieks and thuds. To this extent, it is found that the Chinese martial arts films are the products of a culture mix. (Hunt, 2-3). Workings of the Hong Kong Film Industry and Chinese Pride The martial arts used in the Chinese film industry in the late 1960s emanated from the tactics used by the Samurai form of Japanese Martial Art. Research made suggests that in the earlier periods of Hong Kong film industry the Chinese form of martial art drew a fictional significance to that of the western action films. Moreover it was found that the Kung Fu form of Chinese martial art was blended with other cinematic instruments such as comedy, stunt and action filled antics. Even it is observed that film stars who were previously well known for their martial art skills now using less of martial art skills and focusing on showing stunts and antics. The level of stunts used in the Hong Kong action films owes their contribution to the effect of Chinese Opera on the fighting stars. However, it is recognized that still the fighting choreography has a close resemblance to the traditional martial arts form. The Kung Fu form of martial art finds its connection to the Southern part of the Chinese republic. Northern China was more concerned with the advent of sword fighting techniques used in action films. However, the use of Kung Fu in the Hong Kong action films has helped the cinemas earn a global repute in a short span of time. The Kung Fu films earned more repute in regards to the sword fighting films for the blend of thrill packed into such as was found in the western cowboy films. Technological advancements made in the Hong Kong film industry containing of increasing the production quality, enlarging the cinema screen, and adding colors with the technicalities relating to editing and enhancements in cinematography spread towards Japan. The high applaud received from the western audience for the Hong Kong films made the western film industry also adapt to the changes. To this end, it is observed that the effect of martial art in the Hong Kong action films has made it earn widespread popularity encompassing around eighty nations worldwide. The modern era however found that the traditional martial art form of Kung Fu was being steadily substituted by action, horrors and thrills attached to the films. The level of action tied to these movies inspires awe and fear for the huge amount of brutality featured with extended sound effects. However, in the later period it was found that America owing to its revived ties with South-East Asian countries like Japan felt the need of incorporating martial arts like Karate and Judo in their films. Further, the use of Kung Fu as a form of Chinese martial art emphasized on the country’s growing nationality. In this regard it is observed that the body and personality of Bruce Lee was rather tried by the Hong Kong film industry to resemble China’s national presence to the whole world. (Hunt,.3-16; Yang, 2). Masculinity in the Hong Kong Film Industry Bruce Lee’s figure with toned muscles making their way into the action scenes caught the attention of many. Even it went on to reproduce a fan club for the film hero which copied some of the techniques used by the star. The youth generation in the previous days felt keen to recreate the fighting scenes within their domestic culture using the techniques of Kung Fu as displayed by the star. To this extent it is observed that the level of masculinity tied to the fighting scenes was centered on masculine male bodies. Though the female heroines did show their muscles at times the fighting scenes using martial arts was restricted to their entry. However, it is argued in this context that a muscular framework is not enough to bring an aesthetic look into the action films. There is a constant need for better movements, which combined with the muscular look, renders true beauty to the viewer’s eyes. (Anderson). Men rather than women mainly populate most of the fighting scenes involving high amount of martial arts and gangster movie themes. (Pang & Wong) It is further argued that martial art packed action films have a strong utilization of cinematography and special effects needed to have a lasting impact. The violent action scenes reflected in the martial art stuffed action movies transmit a sense of excitement in the viewer’s mind. They also respond accordingly to the visions reflected by the action films. However if dealt by the viewers intellectually it will tend to lose its malicious texture, which it had, been imposing for long. Thus there occurs the need for special effects like sound and light to lend authenticity to the action scenes and to make them real. (Anderson). However, it was found that after the death of Bruce Lee the martial art stuffed action films shifted to have a comic role. The mix of comedy in the martial art packed action films were taken to be the modern ramifications in deep contrast to the cinemas produced in the earlier periods. Moreover, the production of films like ‘Zu- Warriors from the Magic Mountain’ earned huge audiences owing to the addition of special effects like sound and light technology. Thus, it is found that martial art films to be successful in the modern context must be tied to technological advancements. (Garcia) Hong Kong Cinema-In Colonial and Post-Colonial Context The Hong Kong film industry is characterized by its imperialistic dominion over the fragmented Asian film industry. The film industries in Asia were found spread in a sporadic manner and were relevantly small and fragile. Thus, the bigger film industry like the Hong Kong Cinema had the opportunity to rule over them. It is also viewed that the colonial approach of the Hong Kong cinema industry brought about the tie between Britain and China in 1984. The tie resulted in the historical Sino-British agreement. The martial arts form used by the Hong Kong cinema industry also bore a strong resemblance to the changing social patterns. It is found that the action films made during the 1960 period used sword fighting techniques rather than the traditional martial arts form of Kung Fu. This not only reflects the binding ties between the colonial British and Chinese government but also on Chinese masculinity. Moreover, the sword fighting films were cast in a pro-communist period and had a fictional touch adhered to it. By the end of the 1960 period, social turmoil had begun in regards to anti-colonial movement led by the youths. This social unrest led to the shift of mindset of the Chinese people from the past glory of China to Communist China protesting rampantly protesting against colonialism. The trends in the Hong Kong cinema industry also highlighted a change from the sword fighting techniques to traditional martial arts form like Kung Fu. In cinemas like ‘the China Dream and Hong Kong Sentiment’, the shift to a modern and contemporary Chinese republic from the past fictionally governed pre-communist China is widely shown. To this end, the Hong Kong film industry is characterized by a sense of nostalgia catching on its nerves. The characters were positioned in such a fashion as to lament on the loss of the past colonial era. To this end, the Chinese film ‘Once Upon a Time in China’ released on 1991 can be analyzed. Tsui Hark directed the film. It is found that the main theme borne by the film is based on the large number of post-colonial issues emanating in modern China. This film earns its due recognition from the fact that it is based in the same string of depicting Cantonese films. The Cantonese films were a range of film series made during the 1950-60 period. They were based on a legendary Chinese medical practitioner, Wong Fei-Hung who also happened to be an exponent in Chinese Martial Arts. Being represented in the modern context the film earned wide attention from Chinese people and especially from media scholars. However, in the modern context the Hong Kong action films using the traditional martial arts form of Kung Fu starring actors like Bruce Lee and Jackie Chan bear strong differences in their approaches in providing entertainment to the masses. The film ‘Ashes of Time’ produced by Wong Kar Wai also based on the above genre of depicting male heroism failed to generate public applause. It struck a note of disappointment when viewed by the Chinese masses. (Eleftheriotis & Needham, 64-69, 83; Stokes & Hoover, 94; Kar, Bren & Ho, 169) Moreover, the films produced by Tsui Hark like ‘Once Upon a Time in China’ have a nationalistic genre attached to it. The film also earned the characteristic of a fast and furious movie with sound and fighting effects created to excite the national fervor in the Chinese minds. An anti-foreigner touch characterizes Tsui Hark’s movies, which like ‘Once Upon a Time in China’ gained nationalistic emotions in protesting against colonialism. (Yau, 144-146; Sarkar, 168). Conclusion The Hong Kong film industry is characterized by action packed films involving heavy amount of martial arts. Mostly the use of martial arts like Kung Fu has become a genre of Hong Kong films. However, the use of traditional martial arts forms earned contemporary importance. A survey if made of the earlier Hong Kong films would reflect martial arts practices mainly influenced by western cultures having events like sword fight. The cinemas produced in the contemporary Hong Kong society are found to work on a nostalgic note remembering China’s past glory. The cinema taken into discussion is Tsui Hark directed action packed nationalistic movie ‘Once Upon a Time’ in China. Here it needs to be said that Tsui Hark’s movies contain a nationalistic theme but is well packed with rapid action scenes. The films also render special effects like sound effects to make the fighting scenes look real. However, Tsui Hark’s movies are often criticized for their anti-foreign attitudes. The movies depicting anti-foreign movements gains ground in the light of anti-colonist moves taken by the Chinese nationals. Further the action packed Hong Kong movies puts stress on muscular packed masculine figures. There was a time when the Chinese youths often imitated such actions as depicted by heroes such as Bruce Lee. These action heroes were depicted in such a fashion as in resembling a strong Chinese Republic against imperialism. The modern Hong Kong cinemas also are found to have added comedy in such action movies making them lighter in approach. The massive use of special effects using three-dimensional technology has added charm to such traditional forms of action movies. It is thus held that unless the traditional martial art packed movies are not rendered such technological touch they would lose their appeal to the Chinese masses. Works Cited 1. Teo, Stephen. Hong Kong Cinema pp.169-174 and ‘Tsui Hark: National Style and Polemic’ in At Full Speed. 2. Hunt, Leon. Kung Fu Cult Masters: From Bruce Lee to Crouching Tiger – Introduction. Wallflower Press, 2003. 3. Yang, Jeff. Once Upon A Time in China. New York: Atria Books. (2003). 4. Anderson, Aaro.n ‘Kinesthesia in Martial Arts Films: Action in Motion’, Jump Cut 42, 1998, pp.1-11, 83. 5. Pang, Laikwan. & Day Wong. Masculinities and Hong Kong cinema. Kent State University Press, 2005. 6. Anderson, Aaron. ‘Violent Dances in Martial Arts Films’, Jump Cut (online version) 2002, http://www.ejumpcut.org/aarona/andersontextonly.html. 7. Garcia, Roger. ‘Alive and Kicking: The Kung Fu Film is a Legend’, Bright Lights, 13, Summer 1994 8. Eleftheriotis, Dimitris and Gary Needham (eds) Asian Cinemas: A Reader and a Guide – Section 2 ‘Colonial Encounters, Post-Colonial Criticism and Hong Kong Cinema’. University of Hawaii Press, 2006 9. Stokes, Lisa Odham and Michael Hoover ‘Last Heroes in Hong Kong’, In, City on Fire, Verso, 1999. 10. Kar, Law, Bren, Frank & Sam Ho. Hong Kong cinema: a cross-cultural view. Scarecrow Press, 2004 11. Yau, E. Ching-Mei. At full speed: Hong Kong cinema in a borderless world. U of Minnesota Press, 2001 12. Sarkar, Bhaskar. ‘Hong Kong Hysteria: Martial Arts Tales from a Mutating World’ in At Full Speed. University of Minnesota Press, 2001 13. Once Upon a Time in China. Tsui, Hark (dir.), perf. Jet Li, Rosamund Kwan, Donnie Yen, Golden Harvest Company, 1993. Read More