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Arrivé à la sortie du couloir de la mort, le jeune moine Shaolin devait encore s'acquitter d'une dernière épreuve : déplacer une urne de bronze remplie de braises en la saisissant entre ses avant-bras. De chaque côté de l'urne, deux figures animales apparaissaient en bas-relief. Sa dernière épreuve accomplie, le jeune moine se retrouvait ainsi avec le double emblème du Tigre et du Dragon marqué dans sa chair, symbole de sa maîtrise des arts martiaux. Recevant sans préparation le phénomène Bruce Lee, les spectateurs du monde entier découvrent au cours des années 1970 l'existence du cinéma de Hong Kong se référant à la tradition de Shaolin. Héritière du brillant cinéma de Shanghai, cette industrie possède sa propre identité, ses genres, ses stars et ses auteurs. En l'espace de quelques années, le cinéma de Hong Kong parvient à une notoriété mondiale qu'il n'a jamais perdu depuis. Le film de Kung Fu est sans conteste sa création la plus excitante et la plus novatrice. Ce livre lui est consacré. TIGRES et DRAGONS, DE TOKYO A HONG KONG s'ouvre sur le phénomène Bruce Lee, le Petit Dragon. Il rappelle ensuite les deux figures de combattants à mains nues du cinéma japonais, le Sugata Sanshiro d'Akira Kurosawa et le Streetfighter de Sonny Chiba. Dans ce livre, les principaux artisans de l'Age d or du cinéma Kung Fu sont largement évoqués : Wang Yu, Angela Mao, Lo Wei, Lo Lieh, John Woo etc. puis l'auteur s'attarde sur les deux plus grands créateurs du cinéma Kung Fu, Chang Cheh et Liu Chia-liang. Aujourd'hui, Hollywood à intégré plusieurs représentants majeurs de ce genre tels que Jet Li, Jackie Chan, Yuen Woo-ping, Samo Hung et Michelle Yeoh.

Martial arts films --- Martial arts --- Motion pictures

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From classic Bruce Lee films to the comedies of Jackie Chan, a vibrant look at the enduring fascination with the kung fu cinema of Hong Kong. In the spring and summer of 1973, a wave of martial arts movies from Hong Kong--epitomized by Bruce Lee's Enter the Dragon--smashed box-office records for foreign-language films in America and ignited a "kung fu craze" that swept the world. Fighting without Fighting explores this dramatic phenomenon, and it argues that, more than just a cinematic fad, the West's sudden fascination with--and moral panic about--the Asian fighting arts left lasting legacies still present today. The book traces the background of the craze in the longer development of Hong Kong's martial arts cinema. It discusses the key films in detail, as well as their popular reception and the debates they ignited, where kung fu challenged Western identities and raised anxieties about violence, both on and off-screen. And it examines the proliferation of ideas and images from these films in fields as diverse as popular music, superhero franchises, children's cartoons, and contemporary art. Illuminating and accessible, Fighting without Fighting draws a vivid bridge between East and West.

Martial arts films --- History and criticism

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Martial arts films --- Motion pictures --- Films d'arts martiaux --- Cinéma --- History and criticism --- History --- Histoire et critique --- Histoire

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Martial arts films --- Motion pictures --- Films d'arts martiaux --- Cinéma --- Encyclopedias --- Plots, themes, etc. --- Dictionaries --- French. --- Encyclopédies --- Intrigues, thèmes, etc. --- Dictionnaires français

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This is the first comprehensive, fully-researched account of the historical and contemporary development of the traditional martial arts genre in the Chinese cinema known as wuxia (literal translation: martial chivalry) - a genre which audiences around the world became familiar with through the phenomenal 'crossover' hit Crouching Tiger, Hidden Dragon (2000). The book unveils rich layers of the wuxia tradition as it developed in the early Shanghai cinema in the late 1920s, and from the 1950s onwards, in the Hong Kong and Taiwan film industries. Key attractions of the book are analyses of: *The history of the tradition as it began in the Shanghai cinema, its rise and popularity as a serialized form in the silent cinema of the late 1920s, and its eventual prohibition by the government in 1931. *The fantastic characteristics of the genre, their relationship with folklore, myth and religion, and their similarities and differences with the kung fu sub-genre of martial arts cinema. *The protagonists and heroes of the genre, in particular the figure of the female knight-errant. *The chief personalities and masterpieces of the genre - directors such as King Hu, Chu Yuan, Zhang Che, Ang Lee, Zhang Yimou, and films such as Come Drink With Me (1966), The One-Armed Swordsman (1967), A Touch of Zen (1970-71), Hero (2002), House of Flying Daggers (2004), and Curse of the Golden Flower (2006).

Film --- China --- Martial arts films --- Martial arts --- Motion pictures --- Films d'arts martiaux --- Arts martiaux --- Cinéma --- History and criticism --- Histoire et critique --- Combat --- Self-defense --- In motion pictures. --- Martial arts in motion pictures. --- Kung fu films --- Spaghetti Easterns --- Action and adventure films --- Geschichte 1920-2002