By Sabrina Qiong Yu
Jet Li is arguably the easiest martial arts actor alive, and his profession has crossed quite a few cultural and geographic limitations, 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 for instance to deal with a few interesting yet under-examined concerns surrounding transnational stardom normally and transnational kung fu stardom in particular.
Presenting case reports of audiences' responses to Jet Li motion pictures and his big name photograph, this booklet explores the best way Li has developed from a chinese language wuxia hero to a transnational kung fu celebrity on the subject of the discourses of style, gender, sexuality, ethnicity and nationwide id. by means of rejecting a text-centred strategy which prevails in famous person stories and in its place emphasising the position of audiences in developing big name snapshot, this publication demanding situations a few demonstrated views within the learn of chinese language male display pictures and martial arts/action cinema.
As one of many first book-length experiences on chinese language stars/ stardom and transnational stardom, Jet Li: chinese language Masculinity and Transnational movie Stardom is key analyzing for college kids and researchers in movie Studies.
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Extra resources for Jet Li: Chinese Masculinity and Transnational Film Stardom
Above, I have argued that indiscriminately applying a Western or Hollywood model to the study of transnational kung fu stardom risks ignoring its cultural specificities and often results in critical clichés such as that Hong Kong action is chopsocky and that it concerns the remasculinisation of Chinese men. This is not to say that Western models are invalid for discussing Chinese films or stars, but to resist a critical tendency to read non-Western/non-Hollywood film cultures against a Western/Hollywood standard.
Instead, I would like to draw attention to the ways in which new wuxia films redefine the wuxia genre and reconstruct wuxia masculinity. In the rest of this chapter, I examine three salient traits of new wuxia films, which distinguish them from previous wuxia films, that is, their parodic and hysterical textual nature, the technology-based, exaggerated visual spectacle they provide, and their fascination with gender-bending and cross-dressing. I argue that it is exactly these traits that pose a significant challenge to traditional representations of wuxia heroes and also to kung fu stardom.
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.