Part I: History and Development; 1. Introduction; 2. Wuxia from Literature to Cinema; 3. Reactions against the Wuxia Genre; 4. The Wuxia Genre Shifts Ground; 5. The Rise of Kung Fu, from Wong Fei-hung to Bruce Lee; Part II: The New School and Beyond; 6. The Rise of New School Wuxia; 7. The Wuxia Films of King Hu; 8. A Touch of Zen and the Moral Dilemma of the Female Knight-Errant; 9. Wuxia after A Touch of Zen; 10. Wuxia between Nationalism and Transnationalism; Glossary; Filmography; Works Cited.
Stephen Teo is currently associate professor at the Wee Kim Wee School of Communication and Information, Nanyang Technological University, Singapore, and a senior research associate of the RMIT University, Melbourne, Australia. He is the author of Hong Kong Cinema: The Extra Dimensions (British Film Institute, 1997), Wong Kar-wai (BFI, 2005), King Hu's A Touch of Zen (Hong Kong University Press, 2006), and Director in Action: Johnnie To and the Hong Kong Action Film (Hong Kong University Press, 2007).
An unprecedented English language resource for those interested in the history of the genre, particularly its roots in literature and the lost films that can only be researched obliquely through reviews and articles written by people who have seen them. I'd recommend it to those who are willing to read an academic, scholarly text, and even to those who aren't interested in scholarly reading but wish to know more about this unappreciated and misunderstood genre of film... an excellent resource for the history of the genre, as well as topical and retroactive critical appraisal. Exhaustively researched, filled with anecdotal information about the earliest Shanghai produced films and their reception by audiences and the intelligentsia. Golden Pigsy This book is a welcome addition to the flourishing literature on Chinese martial arts cinema. -- Ming-Yeh T. Rawnsley, University of Leeds Historical Journal of Film, Radio and Television An unprecedented English language resource for those interested in the history of the genre, particularly its roots in literature and the lost films that can only be researched obliquely through reviews and articles written by people who have seen them. I'd recommend it to those who are willing to read an academic, scholarly text, and even to those who aren't interested in scholarly reading but wish to know more about this unappreciated and misunderstood genre of film... an excellent resource for the history of the genre, as well as topical and retroactive critical appraisal. Exhaustively researched, filled with anecdotal information about the earliest Shanghai produced films and their reception by audiences and the intelligentsia. This book is a welcome addition to the flourishing literature on Chinese martial arts cinema.
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