By Lisa Odham Stokes
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Additional resources for Historical Dictionary of Hong Kong Cinema (Historical Dictionaries of Literature and the Arts)
Sample text
By 1977, the actor had appeared in 20 features, primarily martial arts films, and had become known for his cold stare. He was prominent in other King Hu films, especially The Fate of Lee Khan/Ying chun gok ji fung boh/Ying chun ge zhi feng bo (1973) and The Valiant Ones/Chung lit tiu/Zhong lie tu (1975). In the former, Bai played the scholar-swordsman and spy-rebel working against the Mongol Lee Khan and his sister, intent on intercepting a map with rebel troop whereabouts, to assist the five heroines.
Though set in Shanghai, the film is also notable for using Hong Kong as a framing device and recording the dynamics of the city at the time. This tale of two cities also finds a parallel in real life. Interestingly, Zhang Shankun started as the film’s director, but left halfway through the production, with He taking over to finish the film. Zhang had been charged with treason and was forced to return to the Mainland to defend himself. ANIMATION. Hong Kong’s animation begins with Tan Xin-feng’s Prince of the Big Tree (1948), a puppet animation film using traditional string puppets (now lost).
Woo, in effect, reinvented the gangster genre (which came to be known as “heroic bloodshed”) by combining elements from Hollywood Westerns and Chinese swordplay movies, the former revolving around opposites continually confronting one another and the latter involving the use of martial arts choreography. ” because of his fondness for special effects, has mixed and matched almost every genre imaginable. Tsui’s wire-worked, martial arts spectacle-fantasy Zu Warriors from the Magic Mountain (1983) and his gender-bending Peking (Beijing) Opera Blues (1986), weaving together ballet, pomp, satire, stunts, and tragedy, solidified his reputation as an adventurous and visionary filmmaker.