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

Abstract

; 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.

Research on the Application of TRIMP Method in the Training of Martial arts Athletes

“…Test training monitoring indexes related to the blood and urine routine test, such as BU, CK, T, C, LA, electrocardiogram, dynamic force, anaerobic power. Martial arts team has the training venue and different competition characteristics, the amount of training lasts 8-10 months, and we arrange the training of the teams every night, our training for athletes after training monitoring are collected on the same day or the second day morning while the results feedback timely, in order to grasp the coach athlete status at any time, we can timely adjust the training plan [6,7].…”

Releasing Masculinity for a More Just World: Lessons on How to “Be Water” in Hong Kong

“…A new style of action choreography deriving from acrobatic stagecraft in the style of the Peking Opera emerged and eventually prevailed, redefining martial movies by foregrounding women as marvelous martial artists. Different from the unarmed, hand-to-hand combat model popularized by the Wong Fei-hung series in the late 1940s, this paradigmatic shift led to “strong suppression of wu (武; the martial) in the genre's action esthetics due to the elevation of wen (文; the literary and the artistic) in traditional Chinese culture” (Wong 2017, 72) and inspired a new trend of “female centrism” that characterizes King Hu's massively popular swordplay movies (Desser 2005b). The rise of yanggang aesthetics “that stressed ultraviolence and fashioned a new cult of virile masculinity” amid Hong Kong's industrialization in the 1960s not only marked a return to the realist tradition, but also resulted in “increasing male dominance thereafter” (Yip 2017b, 84).…”