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Cinematic Geography, Martial Arts Fantasy, and Tsui Hark's Wong Fei-hung Series

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This article considers an intriguing case of transnational cinematic geography, cultural translations,and productive appropriations in Hark's martial arts representations and (dis) enchanting "special effects" spectacle. No doubt, we can connect modern martial arts film with the historical writings on assassins in Sima Qian's The Historical Records. As well as a broad range of martial arts novels published in Hong Kong, Taiwan, and Mainland China in the 20th Century. This article also touches upon a great range of topics against the national and transnational backgrounds.
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Keywords: Chinese-ness; Once upon a time in China; martial arts; transnational; transnational film geography

Document Type: Research Article

Publication date: March 1, 2008

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  • Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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