Hong Kong’s It/Ip Man: The Chinese Contexts of Donnie Yen’s Transnational Stardom

Funnell, Lisa

doi:10.1057/9781137268280_7

Cited by 4 publications

(2 citation statements)

References 4 publications

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“…There has been increasing attention on Yen in recent studies of stardom. For examples, see [Hunt 2014] and [Funnell 2013]. …”

mentioning

confidence: 99%

Synthesizing Zhenshi (authenticity) and Shizhan (combativity): reinventing Chinese kung fu in Donnie Yen’s Ip Man series (2008-2015)

Wong

2017

Martial Arts Studies

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; authenticity) and shizhan ( ; combativity), represented by the series of kung fu films featuring Kwan Tak-hing as the legendary Wong Fei-hung and the martial arts action films of Bruce Lee respectively. Despite kung fu cinema's claim to 'realism' since its conception in the 1949, there is a strong suppression of wu the martial) in the genre's action aesthetics due to the elevation of wen ( ; the literary and the artistic) in traditional Chinese culture. By exposing the inherent contradictions within kung fu cinema and incorporating of combative action aesthetics derived from Bruce Lee's martial arts philosophy and wing chun principles -what I call kuai ( ; speed), hen ( ; brutality), and zhun ( ; precision), the series presents new possibilities of wu and offers a more comprehensive understanding of Chinese kung fu.shizhan, zhenshi, wen-wu, kung fu cinema, martial arts action, authenticity, action aesthetics.

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“…There has been increasing attention on Yen in recent studies of stardom. For examples, see [Hunt 2014] and [Funnell 2013]. …”

mentioning

confidence: 99%

Synthesizing Zhenshi (authenticity) and Shizhan (combativity): reinventing Chinese kung fu in Donnie Yen’s Ip Man series (2008-2015)

Wong

2017

Martial Arts Studies

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“…As seen in the discourses on Japanese-Taiwanese actor Takeshi Kaneshiro's complicated and cosmopolitan images, fans of transnational celebrities also co-construct the star's various images and presentations in participatory platforms on cyberspace across the world's different languages and cultures (Lau, 2018). The different interpretations of Donnie Yen (Yen Ji-dan) and his action movies in the Hong Kong and mainland Chinese film markets demonstrate the polysemic nature of popular star personae and film texts (Funnell, 2013). While the different images projected by transnational stars do bring about positive results for their careers, they may also give rise to negative consequences for both the stars and other stakeholders, particularly in the international political arena.…”

Section: Transnational Stardommentioning

confidence: 99%

From H.O.T. to GOT7 : Mapping K-pop's fandom, media, and performances in China

Sun¹

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Introduction: Laying out the Terrain of Voice-Driven Star Discourse in Chinese Cinemas

Lau

2021

Reorienting Chinese Stars in Global Polyphonic Networks

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Hong Kong’s It/Ip Man: The Chinese Contexts of Donnie Yen’s Transnational Stardom

Cited by 4 publications

References 4 publications

Synthesizing Zhenshi (authenticity) and Shizhan (combativity): reinventing Chinese kung fu in Donnie Yen’s Ip Man series (2008-2015)

Synthesizing Zhenshi (authenticity) and Shizhan (combativity): reinventing Chinese kung fu in Donnie Yen’s Ip Man series (2008-2015)

From H.O.T. to GOT7 : Mapping K-pop's fandom, media, and performances in China

Introduction: Laying out the Terrain of Voice-Driven Star Discourse in Chinese Cinemas

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