Sentences with phrase «of wuxia»

Each sequence focuses on moments depicting a certain gravity - defying lightness or weightlessness emblematic of the genre, while the variously degraded images reflect both the changing stylistics of wuxia along with technological shifts in the medium.

In parallel, susan pui san lok's presentation of her artistic practice brought words flashing up rapidly on the screen; a sequence that demonstrated disconnection, subversion, breakage and re-formulation, against a manipulated montage of wuxia footage.

Taken at his word, he undoubtedly succeeded: Hero builds upon the aestheticization of wuxia begun with Ashes of Time and made popular by Crouching Tiger, Hidden Dragon: it's undeniably beautiful.

Dragon Inn: produced by Tsui and directed by Raymond Lee, this remake of King Hu's 1967 Dragon Gate Inn stands as one of the most iconic of the Nineties wave of wuxia pictures.

Since his first feature, Wo kou de zong ji (Sword Identity, 2011), Xu Haofeng has strived to produce a different kind of wuxia pian (martial arts film), a genre that, from 1949 until the early 2000s, couldn't be made in the PRC.

When mainland directors started to tackle the genre, though, it was more in the direction of sumptuous historical fantasies designed for international audiences (such as Zhang Yimou's Ying xiong [Hero, 2002]-RRB- than in the redefinition of the essence of wuxia.

Would he offer the aerobatic action of his wuxia epics Hero and House of Flying Daggers?

King Hu rose to prominence in the 1960s and»70s as a superb director of wuxia films («A Touch of Zen»), a popular Chinese action genre of swords, sorcery and chivalrous heroes.

It was as if I was simultaneously witnessing two different realities of Drunken Master: the unaltered Cantonese original and the campy English version shown all over the West, spreading the gospel of wuxia cinema and Jackie Chan.

Not exact matches

TAIPEI - Next Magazine has told what it says is the inside story of the night actor Wallace Huo confessed his love to actress Ruby Lin, after his supposed A place for Chinese dramas, Korean dramas and more with a soft spot for wuxia and anything historical.

The movie is an obvious parody of sword - and martial - arts wuxia movies, but it also serves as an invitation to young audiences, who may find that Po's antics have sparked an appetite for the more grown - up pleasures of movies like «Crouching Tiger, Hidden Dragon» or «Curse of the Golden Flower.»

Zhang Yimou's exquisite wuxia is all the genre clichés allow: sumptuously shot and sharply choreographed, full of balletic and nigh - on acrobatic action.

The wuxia killings elevate A Touch of Sin into the territory of great revenge pictures, even as its ideology proves less than discernible.

Based on the wuxia genre of films and stories, this kung fu fighting is fast and features lots of mid-air dashing and juggling of hapless combatants.

The goofy - fun - silly - awesome cocktail of Chinese black magic, wuxia, neon, and the World Class American Bullshit Artist that is Kurt Russell's rig - drivin» lead character, Jack Burton was quickly relegated to cult status.

The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.

With apologies to Minority Report, the year's most visually breathtaking action movie was China's Hero, a ravishing post-Crouching Tiger wuxia epic with an oddly pro-empire message and a stunning cast of Hong Kong legends, including Jet Li, who took a break from making dumb American B - movies for long enough to anchor something great.

King Hu's 1965 Hong Kong wuxia pian («martial chivalry» genre) classic stars Cheng Pei - Pei as the avenging Golden Swallow, on a mission to save her kidnapped brother, and Yueh Hua as an amiable beggar with a chorus of scruffy orphans, who plays guardian angel to the warrior woman, his drunken front hiding his true identity.

When the bamboo curtain lifted, some Hong Kong filmmakers were allowed to shoot wuxia pian on the mainland, and somewhat muted the spectacular aspect of the fighting to allow for a true discovery of the landscapes (Ann Hui's Shu jian en chou lu [The Romance of Book and Sword, 1987]-RRB- or to express existential concerns (Wong Kar - wai's Dung che sai duk [Ashes of Time, 1994]-RRB-.

This film didn't impress me quite as much as Call of Heroes did unfortunately, but it's still a solid entry to the wuxia genre.

Crouching Tiger Hidden Dragon (Sony, Blu - ray, 4K UHD)-- Ang Lee transformed his love of «wuxia pian» (China's epic adventures of martial arts, chivalry, and melodrama of the past age) into a worldwide smash by creating, in his own words, «Sense and Sensibility with martial arts.»

The narrator is a famous scribe named Fong, and he'll tell us the story of how he briefly became a part of a story about this wuxia world.

Shot entirely in sequence over a scant twenty - three days ---- during a hiatus in the middle of Wong's wuxia epic, years in the making, Ashes of Time ---- the director wanted to fill this gap by making a quickie movie to restore his creative flow.

The details: Taiwanese master Hou Hsiao - hsien tackles wuxia — the classic Chinese genre of martial arts and chivalry — in his first feature in eight years.

To say that the films of Taiwanese director Hou Hsiao Hsien are an acquired taste is something of an understatement, but the director of A City of Sadness, Millennium Mambo and Café Lumière achieved something of a mainstream breakthrough this year with his immaculate wuxia drama The Assassin.

What follows is a beautifully staged and achingly romantic story of duty, honour and love, which also dissects the wuxia genre and the psychology of the professional killer.

Acclaimed director Zhang Yimou's influential wuxia is period martial arts on the immense scale of an Akira Kurosawa epic.

Haofeng's contemporary wuxia, The Hidden Sword, recalls those of cinema past, King Hu's Touch of Zen in particular, but while its fight scenes and cinematography are similarly dazzling, Haofeng's feature lacks the weight of its predecessors.

If you've seen swordsmen and / or women bouncing through a bamboo forest, you've seen wuxia — yet you've almost certainly never seen it carried off with this degree of delicacy and refinement.

As the legend of Wong Kar - wai goes, the movie that broke the Hong Kong director internationally, 1994's Chungking Express, was an improvisational lark, a way to blow off steam after the grueling desert shoot of his delirious wuxia epic Ashes of Time.

Nevertheless, despite its wuxia trappings, the movie may have more in common with Wong's other films than with those of its genre.

A generic oddity in his oeuvre, Ashes of Time was the director's only attempt to date at a wuxia picture.

Drawing on King Hu's 1967 wuxia classic Dragon Inn, as well as his own (uncredited) 1992 remake, plus Yojimbo, Kagemusha, and any number of other cinematic touchstones, Tsui Hark's Flying Swords of...

As a wuxia film (a particular type of fantastical drama / action film involving Chinese martial artists and set in deep history), its loveliest resonances are found its finely executed martial arts sequences, costuming and period setting, as well as the still charisma of Shu Qi's performance.

The promise inherent in a chop - socky wuxia opus concerning a quintet of fearless vampire hunters and a cadre of zombies is almost infinite, making the abject failure of the piece something almost awe - inspiring.

He's gone all the way back to his beginning, remaking Death Duel in the style of 21st century digital wuxia.

But as far as I've seen, no one has yet taken up the black mantle of the New Wave wuxia film.

Partly because it marks the return of the great Taiwanese helmer Hou Hsiao - Hsien for the first time in seven years, and partly because it sees him working on a bigger scope and scale than ever before: the film's a big - budget (relatively speaking) wuxia picture.

To celebrate the release of The Assassin, a stunning new take on wuxia films by renown director Hou Hsiao - Hsien, we are offering you the chance to win East Asian cinema prize bundles.

For his new video installation in Tank Shanghai Project Space, Saunders returns to his interest in the lyrical vocabulary of movement and camera in wuxia directors like King Hu, placed into relationship to painting and installed dynamically throughout the exhibition space.