By Sabrina Qiong Yu
Jet Li is arguably the simplest martial arts actor alive, and his profession has crossed quite a few cultural and geographic barriers, from mainland China to Hong Kong, from Hollywood to France. In Jet Li: chinese language Masculinity and Transnational movie Stardom, Sabrina Qiong Yu makes use of Li to illustrate to deal with a few exciting yet under-examined concerns surrounding transnational stardom in most cases and transnational kung fu stardom in particular.
Presenting case reports of audiences' responses to Jet Li movies and his big name snapshot, this ebook explores the way Li has advanced from a chinese language wuxia hero to a transnational kung fu big name with regards to the discourses of style, gender, sexuality, ethnicity and nationwide identification. by way of rejecting a text-centred technique which prevails in megastar stories and in its place emphasising the position of audiences in developing megastar picture, this e-book demanding situations a few tested views within the research of chinese language male monitor pictures and martial arts/action cinema.
As one of many first book-length reports on chinese language stars/ stardom and transnational stardom, Jet Li: chinese language Masculinity and Transnational movie Stardom is vital studying for college students and researchers in movie Studies.
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Extra resources for Jet Li: Chinese Masculinity and Transnational Film Stardom
How do I decide which audiences/responses are significant? And how many audiences/responses do I need to consider in order to reconstruct a convincing picture of reception? I explain in each case study why I have chosen to examine a specific audience group or reception site, but two general features have been foregrounded throughout the book, in order to address the limitations of the audience/reception studies method. The first is ‘comparative reading’. When exploring the reception of All about Eve (Joseph L.
When wuxia meets Asia the Invincible: the castrated hero Some critics detect a fascination with cross-dressing and gender-bending in the new wuxia films (Teo, 1997; Sek, 1997; Sarkar, 2001). Cross-dressing is a common trick in the wuxia narrative, enabling swordswomen to disguise their real identity. But in the new wuxia films, cross-dressing has been an indispensable element: swordswomen in male attire can be found in almost every new wuxia film; even male heroes occasionally dress up as women (for example, Jet Li in Fong Sai-yuk), which is quite venturesome for a male-dominated, sometimes misogynistic genre.
Confusion and abdication characterise many of Li’s new wuxia heroes and betray an uncompromising heroism in crisis. Compared to Tsui Hark and Ching Siu-tung, directors like Wong Jing and Jeffrey Lau show even less interest in the heroic narratives seen in previous wuxia films and are prepared to overthrow the generic construction of wuxia heroes in a highly playful way. In their films, inept and burlesque swordsmen often replace omnipotent, reputable xiake as the ultimate winners. Funnily enough, Jet Li plays Wong Fei-hung again in Last Hero in China (1993) directed by Wong Jing, but in a distorted and farcical way so that his character is nowhere near to a revered master.
Jet Li: Chinese Masculinity and Transnational Film Stardom by Sabrina Qiong Yu