Tsui Hark's Zu: Warriors from the Magic MountainHong Kong cinema exploded into world culture during the 1990s, driven by its linkage with Hollywood's dynamic new digital special effects technologies. This book provides essential historical background to that remarkable set of events by analyzing the culture, political and technological network surrounding Tsui Hark's masterful but under-appreciated Zu: Warriors From the Magic Mountain. Schroeder examines how the film transformed Hong Kong action cinema from the 1980s to the present, which resulted in its rise as a dominant transnational style in close affiliation with the transformation of Hollywood cinema into a digital technology driven global enterprise. |
Contents
| 1 | |
2 Speeding Towards Autonomy | 9 |
3 Uneven Developments | 35 |
4 Technologies of Transnationalism | 65 |
5 Conclusion The Meanings of Zu | 91 |
Notes | 97 |
Filmography | 105 |
| 109 | |
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Common terms and phrases
Ackbar Abbas action films aesthetic allegorical anticipatory Antonio Negri audience autonomous blockbuster Blood Demon Bruce Lee's bubble economy camera characters China choreography Cinefex Cinefex Workshop cinematic space commercial context cosmopolitanism Countess Crouching Tiger David Bordwell digital compositing effects designers effects technologies emergent Fate feminized Film Workshop film's filmmakers fluid fragments gendered genre global Hollywood graphics Hark's Heaven's Blade high-speed Hollywood Hong Kong action Hong Kong cinema Hong Kong film Hsiao Yu identity imaginary imagination John Woo King Sky Kong action cinema Kong film industry Legend Legend of Zu Magic Mountain martial arts Ming-chi and Yi mutation narrative Negri networks optical compositing optical printer optical technologies overlay pastiche Paul Virilio political postmodern rotoscope sense shot significant sovereignty special effects speed Star Wars studio territory Ting Yin tradition transformation transnational Tsui Hark Tsui's Twin Swords University Press virtual visual effects Warriors wuxia Yi Chen Yin's Yuen Yuen Biao Zu's


