Abstract
This paper examines how the career of Bruce Lee (1940-73) is one of the most interesting cases of cultural influence in the history of film. It explains how he revitalized action films in Hong Kong and how, for the first time, Asian films were seen by large audiences in the United States. It looks at how Bruce Lee found success in the Hong Kong film scene, when he failed to gain appeal in America, yet in the end he became a hit in his own right.

From the Paper
"The Hong Kong film industry blossomed in the 1920s and, after the Peoples Republic of China nationalized the Shanghai film industry, the British Protectorate of Hong Kong became the principal source of Chinese-language films as the four Shaw brothers established "the largest studio complex ever built in Asia" and began turning out popular fare at an incredible rate (Dannen 31). In 1970 one of the Shaws' producers, Raymond Chow, formed the Golden Harvest production company and set about the task of carving out his own niche. Shaw was a martial arts fan and when he had the good fortune to sign Bruce Lee his company was made."

Tags:hong, kong, film, industry, action

Abstract
In this article, the writer discusses that Bruce Lee and Jackie Chan are claimed by the people of Hong Kong as symbols of film and other achievement. Paper refers to course materials to explain importance of Hong Kong's shift to martial arts action films in the late 1960s, the extreme success of Lee's films and how both Lee and Jackie Chan stressed philosophy as part of martial arts. The writer notes that both were very popular in the US, Chan following Lee whose films suited a special time in America of much interest in Asia.

From the Paper
"The early 1970s success of kung fu films in the United States saw Bruce Lee become a well known person in the West. David Desser noted how Warner Brothers had earlier seen the appeal of the television series, Kung Fu, starring David Carradine as a Shaolin priest in the American Wild West, half Chinese and half American. (2000, 24) This popular series helped Americans to become familiar with the martial arts as a tradition other than mere violence. Philosophy and training under a master remain ..."

Abstract
"The career of Bruce Lee (1940-73) is one of the most interesting cases of cultural influence in the history of film. Lee's career as an actor in Hong Kong martial arts films--which he pursued after finding only minor success in American films--was one of the most successful ever.

From the Paper
"The career of Bruce Lee (1940-73) is one of the most interesting cases of cultural influence in the history of film. Lee's career as an actor in Hong Kong martial arts films--which he pursued after finding only minor success in American films--was one of the most successful ever. He revitalized action films in Hong Kong and, for the first time, Asian films were seen by large audiences in the United States. In part, Lee's appeal to Western audiences was simply based on the kinetic power of the wild, vigorous films that placed a premium on action and did not concern themselves to a great extent with the story, acting, and technical values that made Hollywood a major center of film production. Another factor in the appeal of the films was their simple exoticism. They were unlike anything American audiences had seen and offered a truly 'foreign' experience in many..."

From the Paper
" The untimely death of actor Brandon Lee would have been a major story under any circumstances--the death of an actor by accidental shooting during the filming of a movie is both rare and shocking and so would attract a good deal of attention. However, the death of Brandon Lee at the age of 28 created more of a stir than might otherwise have been the case because of his family history, with the sudden death of his father, Bruce Lee, when the latter had achieved international stardom at the age of 32, and because of the nature of the film he was shooting, a film about a hero who returns from the dead. The story was thus played up as if there were a curse on the Lee family and as if aspects of the movie being made had come to life, with the movie also being made out to have been unlucky from the beginning.

Brandon Lee was eight years old when his father died, and he.."

Abstract
The paper examines "Enter the Dragon" that reflects Bruce Lee's innovation in fighting style and racial points of view in the filmmaking process. This film does provide some poor racial stereotypes of Asian actors, but certainly the alliance between Clouse and Lee helped to forge a greater respect for martial fighting and Asian cultural values in general. The paper points out that Lee accomplished this film not only to expand the frontiers of martial arts, but also make the world realize that they are part of a universal family.

From the Paper
"The aim of this film study will be to examine the role of race issues in the action genre of martial arts cinema. By studying the way that race is portrayed in the film: "Enter the Dragon" (1973), one can realize the Asian stereotypes that are exhibited through Robert Clouse's directorship. However, Bruce Lee helped to transform the Asian martial film into a more international phenomenon, bringing forth a greater multicultural race integration on top of this burgeoning Asian sub-genre. In essence, Bruce Lee in "Enter the Dragon" offers a difficult, yet intriguing perspective on race relations between the east and the west in Asian martial arts film. The action genre has been a stable and enduring part of modern cinema."

Tags:lee, film, race

Abstract
The paper compares Bruce Catton's work, "Grant and Lee: A Study in Contrasts" and Russel Baker's essay, "A Nice Place to Visit" and asserts that both follow the comparison and contrast format of writing exceptionally well. The paper explains that where Catton seeks to impart his clearly defined passion and excitement for his subject, Baker wants us to share in his sarcastic assessment of Toronto as being clean and polite and thus boring. The paper posits that both works succeed in engaging the reader, although Baker's assessment has a problem that it requires the reader to take his side.

From the Paper
"Comparison and contrast essays serve a very distinct point - to show the differences and similiarities between individuals, groups, places, songs, etc. Within the structure of these essays, we find that there are two major methods of comparison: the subject-by-subject and the point-by-point. Within these two methods are also several different styles that authors employ. Bruce Catton's work, "Grant and Lee: A Study in Contrasts" takes a very serious and well balanced look at the two primary military generals of the U.S. Civil war."

Tags:humor, sarcasm, subject-by-subject, point-by-point

Abstract
This paper discusses the nature, use, and meaning of the male body within the context of martial arts film, specifically the traditional Hong Kong-style Kung Fu movie. The paper explains that the martial arts hero is a man of average height whose exceptionally fit body is proof of his skill and dedication, and his demeanor, his coiled muscularity (ready to strike, but calmly composed) is his personal testament to the superiority of his training. The paper clarifies that the heroes' fitness is differentiated from that of their opponents because the heroes "earn" their bodies; the physical manifestation of the martial arts hero is centered on the idea that they are apart from their enemies: they are in better shape, they are more attractive, they are of a greater moral strength, they are, in short, representations of physical perfection gained through honest labor. The paper adds that Bruce Lee, Jackie Chan, Sammo Hung, and Jet Li represent the core of the martial arts heroic catalog. The paper concludes that the body on display in the Hong Kong Kung Fu martial arts film is at once an example of exceptional fitness and highly complicated movement.

From the Paper
"The male body is represented, within the context of the Kung Fu film, in three different ways: as male strength, as a testament to personal dedication, and as the bared identity of the character. In this, we have the body, mind, and soul. There is great purpose in using actors who are exceptionally fit, allowing them to perform feats of superhuman strength, agility, and speed, and in giving them accomplish absolutely impossible tasks, because this is their heroic journey. In virtually every martial arts film, and particularly those of Lee, Chan, Hung and Li, the star is the lone center. He is the Ronin, the last Samurai, the rebellious Monk - he is the outsider within the boundaries of his community. As such, it is his responsibility to defend and avenge his home, family, community, and people. Thus, when we see the male body we are seeing the entire summary both physical and metaphysical of the man himself - and, by extension, ourselves."

Tags:kung fu kinesthesia, Bruce Lee, Jackie Chan, Jet Li, Sammo Hung

Abstract
The philosophy of the martial arts as a merge of physical and spiritual mastery. History of Kung Fu films in Shanghai and Hong Kong. Films of Wong Fei Hong. Impact of Bruce Lee. Other actors such as Brandon Lee, Jackie Chan, Jet Li, Chuck Norris, Steven Seagal. Current martial art films and TV.

From the Paper
"Introduction


Martial arts is simply defined as the arts of warfare (de Castro, Orpeza & Rhodes, 1993; Ross, 1999). For example, in Japan, while samurai were engaged in swordplay, karate-do ( way of the empty hand, ) was secretly taught to weaponless peasants for self-defense (de Castro, et. al., 1993). Tae kyon ( push shoulder ) in Korea, as well as Kali in the Philippines, were outlawed by conquering nations desiring a defenseless population (1993). In fact, General MacArthur outlawed the Greater Japanese Martial Arts Association and banned martial arts in Japanese schools at the conclusion of WWII (Neide, 1995). Such deliberate prohibition assumes that the study of the martial arts is synonymous with combat training.


A closer look, however, reveals an art that has a philosophy..."

Abstract
The paper describes how Jackie Chan's "Drunken Master" (1978) was immediately successful in HK and later abroad, and explains that his combined martial arts with slapstick comedy as well as a likeable public peronality appeal to both youths and adults. The paper relates that Chan's reference to Bruce Lee films is plain, only he created his own form atop established patterns of Good versus Bad characters.

From the Paper
"This film masterpiece was the first to show Jackie Chan's eventual trademark of extremely high level martial arts combined with slapstick comedy. When released in Hong Kong in late 1978, Drunken Master was an immediate hit that brought in HK$8 million on its first run. David Desser has written on the Kung Fu craze in North America commencing in 1996 with Chan's Rumble in the Bronx as drew the interest of audiences able to remember Bruce Lee films. (2000 19) Actually, Americans had earlier taken to Bruce Lee films and then Chan's early films, due to a complex time in..."

Tags:chan, drunken master, hk kung fu

Abstract
This paper discusses that martial arts not only is the art of warfare but also has a philosophy based in an elaborate blend of ancient codes of conduct, ethics and a spirituality that appears to be a fusion of Daoism, Zen Buddhism, and Confucianism. This paper states that, making the leap from East to West, this merger of physical and spiritual mastery has become a booming industry in the U.S. resulting in action films and T.V. shows that, besides being a series of highly choreographed fight scenes, also conveys ethical messages, codes of conduct and spiritual direction. The author is concerned that many people are being exposed to the martial arts without any ethical grounding at all; thus a generation is learning the physical aspects of the martial arts without the ethical or spiritual code that has historically been taught alongside it and has no concept of how to take the right action in the face of a dilemma, of delayed gratification or of respect to others.

Table of Contents
Introduction
History of the Kung Fu Film
Bruce Lee and His Successors
Martial Arts in Film and on Television Today
Conclusion

From the Paper
"Bruce Lee has been credited as the one who officially brought martial arts to the film industry in the United States. Although born in San Francisco, Lee spent most of his childhood making films in Hong Kong and did not return to the U.S. until he was 18 years old. Thus, he began to develop and teach Jeet Kune Do ("way of the intercepting fist") and to infuse his philosophy into the films he was in, "which was his ultimate goal in movie-making". Unable to break through the racial barrier in Hollywood, Lee went back to Hong Kong to become a superstar there. Only after achieving success did Hollywood notice him, resulting in "Enter The Dragon" (1973), the only Hollywood-backed film he would star in."

Tags:codes, spiritual, physical, action, choreograph