Several hundred years ago, a strange guest appeared in the Martial Forest, setting off a disturbance in the Martial Forest. He created a martial art of his own that would shock the world. He wanted to break the situation of the martial arts world that was gradually fading due to the upheaval of time. However, when his reputation was growing, he suddenly disappeared from the martial arts world. In several hundred years, how would the people of this world view those who possessed the secret martial arts technique? What kind of mentality would he have to create the martial arts world that he hoped for, and what kind of mentality would he have to enter society? Was he still kind, or was he tainted by the world? Would he end up in the same mess as the eccentric and continue to be intolerable by the martial arts world? If his experiences were different, why? For an answer, please read "The Stonehenge of the Ink Pen".

This is the first comprehensive, fully-researched account of the historical and contemporary development of the traditional martial arts genre in the Chinese cinema known as wuxia (literal translation: martial chivalry) - a genre which audiences around the world became familiar with through the phenomenal 'crossover' hit Crouching Tiger, Hidden Dragon (2000). The book unveils rich layers of the wuxia tradition as it developed in the early Shanghai cinema in the late 1920s, and from the 1950s onwards, in the Hong Kong and Taiwan film industries. Key attractions of the book are analyses of:*The history of the tradition as it began in the Shanghai cinema, its rise and popularity as a serialized form in the silent cinema of the late 1920s, and its eventual prohibition by the government in 1931.*The fantastic characteristics of the genre, their relationship with folklore, myth and religion, and their similarities and differences with the kung fu sub-genre of martial arts cinema.*The protagonists and heroes of the genre, in particular the figure of the female knight-errant.*The chief personalities and masterpieces of the genre - directors such as King Hu, Chu Yuan, Zhang Che, Ang Lee, Zhang Yimou, and films such as Come Drink With Me (1966), The One-Armed Swordsman (1967), A Touch of Zen (1970-71), Hero (2002), House of Flying Daggers (2004), and Curse of the Golden Flower (2006).

Hong Kong cinema began attracting international attention in the 1980s. By the early 1990s, Hong Kong had become "Hollywood East" as its film industry rose to first in the world in per capita production, was ranked second to the United States in the number of films it exported, and stood third in the world in the number of films produced per year behind the United States and India. This second edition of Historical Dictionary of Hong Kong Cinema contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 600 cross-referenced entries on directors, producers, writers, actors, films, film companies, genres, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about Hong Kong cinema.

Where is life to return to Hong, stormy in the martial arts world. When you bend over, you know what it means to be humiliated. When you look back, you can see your head bobbing up and down. His name was Lu Lu, who wasn't trapped within and struggling with all their might ... Perhaps this was his dream. This book has neither transmigrated nor become a fantasy, but it is simply about a colorful martial world: the tragic song of a prodigal son on an ancient road in the setting sun, the heroic demeanor of the desert in the sands of the earth, the thrilling killing and burning of a high moon and night, the windy and drizzling of the south of the river, the snow-capped wilderness, those tragic and moving love legends that make people mourn over their memories and think about their deaths ... [Previous Chapter] [Table of Contents] [Next Chapter] The story was written by Song Renzong from the north. Close]

Using the late 1970s and early 1980s as an entree to the workings of China's "socialist literary system, " the author shows how that system held sway from 1950 until around 1990, when an encroaching market economy gradually but fundamentally changed it. In addition to providing a definitive overview of how the socialist. Chinese literary system worked, Link off comparisons to the similar system in the Soviet Union. In the final chapter, the book seeks to understand how the word "good" was used and understood when applied to literary works in such systems.