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No single figure was more responsible for this international profile than Bruce Lee , an American-born, Hong Kong-raised martial artist and actor.

Eastern film historian Patrick Macias ascribes his success to " bringing the warrior spirit of old into the present day Furthermore, his decision at the outset to work for young, upstart studio Golden Harvest , rather than accept the Shaws' notoriously tightfisted standard contract, was a factor in Golden Harvest's meteoric rise and Shaw's eventual decline.

Following Lee's untimely death, a cottage industry of faux Lee movies emerged, featuring either performers who adopted similar screen names Bruce Li, Bruce Lai, etc.

The fad did little to engender mainstream respect in the West for the relatively new phenomenon of martial arts cinema.

But despite such posthumous treatment, Lee continues to cast a long shadow over Hong Kong film. Like many kung fu performers of the day, Chan came out of training in Peking opera and started in film as a stuntman , notably in some of Lee's vehicles.

The resulting blend of physical comedy and kung fu action provided Chan with his first hit and the rudiments of what would become his signature style.

Chan's follow-up movie with Yuen, Drunken Master also , and his directorial debut, The Fearless Hyena , were also giant hits and cemented his popularity.

Although these films were not the first kung fu comedies, they launched a vogue that helped reinvigorate the waning kung fu genre.

Especially notable in this regard were two of Chan's childhood Peking Opera School classmates, Sammo Hung and Yuen Biao , who also made careers of this specialty, sometimes co-starring with Chan.

Hung, noted for the seeming paradox of his overweight physique and physical agility, also made a name for himself as a director and action choreographer from early on, with titles like Enter the Fat Dragon Chan's clowning may have helped extend the life of the kung fu wave for several years.

Nevertheless, he became a star towards the end of the boom, and would soon help move the colony towards a new type of action. In the s, he and many colleagues would forge a slicker, more spectacular Hong Kong pop cinema that would successfully compete with the post- Star Wars summer blockbusters from America.

In , Jackie Chan began experimenting with elaborate stunt action sequences in Dragon Lord , [15] which featured a pyramid fight scene that holds the record for the most takes required for a single scene, with takes, [16] and the final fight scene where he performs various stunts, including one where he does a back flip off a loft and falls to the lower ground.

His first film in this vein, Project A , saw the official formation of the Jackie Chan Stunt Team and added elaborate, dangerous stunts to the fights and typical slapstick humor at one point, Chan falls from the top of a clock tower through a series of fabric canopies.

Chan continued to take the approach — and the budgets — to new heights in hits like Police Story , which is considered one of the greatest action films of all time.

The latter is considered one of the greatest stunts in the history of action cinema. Thus Jackie Chan created the template for the contemporary urban action-comedy of the s, combining cops, kung fu and all the body-breaking potential of the modern city with its glass, metal and speeding vehicles.

Chan's move towards larger-scale action films was paralleled by work coming out of Cinema City , the production company established in by comedians Raymond Wong , Karl Maka and Dean Shek.

With movies like the spy spoof Aces Go Places and its sequels, Cinema City helped make modern special effects, James Bond -type gadgets and big vehicular stunts part of the industry vernacular.

He led the way in replacing the rough and ready camera style of s kung fu with glossier and more sophisticated visuals and ever more furious editing.

Woo's saga of cops and the triads Chinese gangsters combined fancifully choreographed and extremely violent gunplay with heightened emotional melodrama, sometimes resembling a modern-dress version of s kung fu films by Woo's mentor Chang Cheh.

The formula broke another all-time box office record. It also jump-started the faltering career of co-star Chow Yun-fat , who overnight became one of the colony's most popular idols and Woo's favorite leading man.

For the remainder of the s and into the early s, a deluge of films by Woo and others explored similar territory, often with a similar visual style and thematic bent.

They were usually marked by an emphasis on the fraternal bonds of duty and affection among the criminal protagonists. The most notable other auteur of these themes was Ringo Lam , who offered a less romanticized take in such films as City on Fire , Prison on Fire both , and Full Contact , all starring Chow Yun-Fat.

The genre and its creators were accused in some quarters of cravenly glorifying real-life triads, whose involvement in the film business was notorious.

As the triad films petered out in the early s, period martial arts returned as the favored action genre. But this was a new martial arts cinema that took full advantage of technical strides as well the higher budgets that came with Hong Kong's dominance of the region's screens.

These lavish productions were often adapted from the more fantastical wuxia novels, which featured flying warriors in mid-air combat.

Performers were trussed up on ultrathin wires to allow them to conduct gravity-defying action sequences, a technique known by Western fans, sometimes disparagingly, as wire fu.

As so often, Tsui Hark led the way. He produced Swordsman , which reestablished the wuxia novels of Jin Yong as favorite big-screen sources television adaptations had long been ubiquitous.

Both films were followed by sequels and a raft of imitations, often starring Mainland wushu champion Jet Li. The other signature star of the subgenre was Taiwanese-born actress Brigitte Lin.

She made an unlikely specialty of androgynous woman-warrior types, such as the villainous, sex-changing eunuch in The Swordsman 2 , epitomizing martial arts fantasy's often-noted fascination with gender instability.

Hong Kong's international impact initially came in the form of martial arts films , especially s kung fu films and most notably those of Bruce Lee.

Kung fu film releases in the United States initially targeted Asian American audiences, before becoming a breakout success among larger African-American and Hispanic audiences, [28] and then among white working-class Americans.

Hong Kong martial arts cinema subsequently inspired a wave of Western martial arts films and television shows throughout the s—s launching the careers of Western martial arts stars such as Jean-Claude Van Damme , Steven Seagal and Chuck Norris , as well as the more general integration of Asian martial arts into Western action films and television shows by the s.

Sascha Matuszak of Vice said Enter the Dragon "is referenced in all manner of media, the plot line and characters continue to influence storytellers today, and the impact was particularly felt in the revolutionizing way the film portrayed African-Americans , Asians and traditional martial arts.

Similarly in India, Hong Kong martial arts films had an influence on Bollywood masala films. Hong Kong martial arts films such as Enter the Dragon were the foundation for fighting games.

Street Fighter went on to set the template for all fighting games that followed. Hong Kong action cinema's innovative developments in the s had not only established Hong Kong as the dominant cinema in East Asia , but reawakened Western interest.

By the s, there was a second "Asian invasion" from Hong Kong action cinema, heavily influencing and revitalizing Hollywood action cinema.

There was a significant crossover of Hong Kong stars, filmmakers and action choreographers from Hong Kong to Hollywood, in addition to the wide adoption of Hong Kong action filmmaking techniques in Hollywood.

Building on the reduced but enduring kung fu movie subculture, Jackie Chan and films like Tsui Hark's Peking Opera Blues were already building a cult following when Woo's The Killer had a limited but successful release in the U.

In the s, Westerners with an eye on "alternative" culture became common sights in Chinatown video shops and theaters, and gradually the films became more available in the mainstream video market and even occasionally in mainstream theaters.

Western critics and film scholars also began to take Hong Kong action cinema seriously and made many key figures and films part of their canon of world cinema.

From here, Hong Kong came to define a new vocabulary for worldwide action cinema, with the aid of a new generation of North American filmmakers.

Quentin Tarantino 's Reservoir Dogs drew inspiration from City on Fire and his two-part Kill Bill —04 was in large part a martial arts homage, borrowing Yuen Woo-Ping as fight choreographer and actor.

The Wachowski brothers ' The Matrix trilogy — of science-fiction-action blockbusters borrowed from Woo and wire fu movies, and also employed Yuen behind the scenes.

A number of Hollywood action stars also adopted the Hong Kong practice of training in martial arts and performing their own stunts, such as Keanu Reeves , Uma Thurman and Jason Statham.

The heroic bloodshed genre had a considerable impact on world cinema , especially Hollywood. By the late s, Woo's style of cinema had become firmly established in Hollywood.

Due to the new-found international awareness of Hong Kong films during the s and early s and a downturn in the industry as the s progressed, many of the leading lights of Hong Kong cinema left for Hollywood , which offered budgets and pay which could not be equalled by Hong Kong production companies.

John Woo left for Hollywood after his film Hard Boiled. Since these two films, Woo has struggled to revisit his successes of the s and early s.

After over fifteen years of success in Hong Kong cinema and a couple of attempts to crack the U. Since then, he has made several highly successful films for U.

Between his films for U. Nice Guy and Who Am I? Because of his enormous U. After a minor role in Lethal Weapon 4 , he has gone on to star in several Hollywood films which have performed respectably and made a name for him with American audiences.

So far, he has returned to Chinese cinema for only two films: Hero and Fearless He claimed Fearless would be his last traditional kung fu film.

Chow Yun-fat has also moved to Hollywood. The Hong Kong film industry has been in a severe slump since the mids. The number of local films produced, and their box office takings, are dramatically reduced; American imports now dominate in a way they had not for decades, or perhaps ever.

This crisis and increased contact with Western cinema have probably been the biggest recent influences on Hong Kong action cinema.

Luring local and regional youth audiences away from Hollywood is a constant concern. Action movies are now generally headlined by babyfaced Cantonese pop music idols, such as Ekin Cheng and Nicholas Tse , enhanced with wires and digital effects — a trend also driven by the waning of a previous generation of martial arts-trained stars.

The late s witnessed a fad for Cantopop stars in high-tech, more American-styled action pictures such as Downtown Torpedoes , Gen-X Cops and Purple Storm both Andrew Lau 's wuxia comic-book adaptation The Storm Riders earned a record-breaking gross and ushered in an era of computer-generated imagery , previously little used in Hong Kong film.

Striking a different note were a series of crime films more restrained and actor-driven than the earlier, John Woo-inspired examples.

Andrew Lau and Alan Mak 's blockbuster Infernal Affairs trilogy — has set off a mini-trend of brooding police thrillers. Collaboration with other industries, particularly that of Mainland China , is another increasingly common survival and recovery strategy.

Hong Kong stars and other personnel have been involved in international wuxia successes like Crouching Tiger, Hidden Dragon , Hero and House of Flying Daggers From Wikipedia, the free encyclopedia.

Historical locations. Legendary figures. Historical individuals. Modern celebrities. See also: Kung fu film , Chopsocky , and Martial arts film.

See also: Bruceploitation. Further information: Heroic bloodshed. See also: Gun fu and Girls with guns. See also: Wire fu and Wuxia. Main articles: Chopsocky and Bruceploitation.

See also: Bruce Lee , Kung fu film , and Martial arts film. This section needs additional citations for verification.

Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.

May Learn how and when to remove this template message. Main article: Heroic bloodshed. Retrieved Project Muse PDF version.

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