This article argues that Donnie Yen’s Ip Man series (2008-2015) synthesizes two predominant unarmed, hand-to-hand combat traditions of Hong Kong martial arts cinema – what I call zhenshi (真實 authenticity) and shizhan (實戰 combativity), represented by the series of kung fu films featuring Kwan Tak-hing as the legendary Wong Fei-hung and the martial arts action films of Bruce Lee respectively. Martial Arts Studies: Disrupting Disciplinary Boundaries.Demonic Warfare: Daoism, Territorial Networks, and the History of a Ming Novel.Jet Li: Chinese Masculinity and Transnational Film Stardom.The Creation of Wing Chun: A Social History of the Southern Chinese Martial Arts.Kyle Barrowman, History in the Making: Martial Arts between Planet Hollywood and Planet Hong Kong Book Reviews.Alexander Hay, The Art and Politics of Fence: Subtexts and Ideologies of Late 16th Century Fencing Manuals Review Article.Draeger, Count Dante, and the Struggle for American Martial Arts Identity Jared Miracle, Imposing the Terms of the Battle: Donn F.Farrer, Efficacy and Entertainment in Martial Arts Studies: Anthropological Perspectives Sixt Wetzler, Martial arts studies as Kulturwissenschaft: A possible theoretical framework.Paul Bowman, Asking the Question: Is Martial Arts Studies an Academic Field?.Martial Arts Studies Autumn 2015 Issue 1 Table of Contents Editorial
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