The book provides highlights on the key concepts and trends of evolution in History of Chinese Martial Arts, as one of the series of books of “China Classified Histories”.

The story took place in Snowy Mountain in the coldest part of Manchuria, one Winter's morning in 1781. The Dragon Lodge party ran into the Horse Spring Banditry who were there to unearth a buried casket. They were waylaid yet by the Peking Overland Convoy. All three parties had designs on the metal casket, supposedly housing a poniard, which was an heirloom of the Martial Brotherhood. A monk arrived on the scene and the invited the parties to the eyrie on the summit. The lord of the eyrie happened to be away summoning help to fight Fox Volant of the Snowy Mountain, who was scheduled to arrive on the summit at noon. While waiting, each one in the parties began recounting incidents which took place some twenty years before. The excitement, intrigue and action in these incidents are well dramatized, with one event firmly intertwining with others in the past, developing into a vendetta involving the offspring of several families. The story ends with a fight between Fox, the hero of the story, and his sworn enemy, but the result of the fight is untold, left to the imagination and creative power of individual readers.

The martial arts novel is one of the most distinctive and widely-read forms of modern Chinese fiction. John Christopher Hamm offers the first in-depth English-language study of this fascinating and influential genre, focusing on the work of its undisputed twentieth-century master, Jin Yong.

Considers the significance of Chinese female action stars in national and transnational contexts. Warrior Women considers the significance of Chinese female action stars in martial arts films produced across a range of national and transnational contexts. Lisa Funnell examines the impact of the 1997 transfer of Hong Kong from British to Chinese rule on the representation of Chinese identities—Hong Kong Chinese, mainland Chinese, Chinese American, Chinese Canadian—in action films produced domestically in Hong Kong and, increasingly, in cooperation with mainland China and Hollywood. Hong Kong cinema has offered space for the development of transnational Chinese screen identities that challenge the racial stereotypes historically associated with the Asian female body in the West. The ethnic/national differentiation of transnational Chinese female stars—such as Pei Pei Cheng, Charlene Choi, Gong Li, Lucy Liu, Shu Qi, Michelle Yeoh, and Zhang Ziyi—is considered part of the ongoing negotiation of social, cultural, and geopolitical identities in the Chinese-speaking world.