Most learn about martial arts through movies and print publications, primarily fictional. "Fiction is drama, the blood of drama is conflict, and martial arts are rooted in conflict," writes James Grady in chapter one. Good fiction uses martial arts well, while poor writing skills can be plain boring! This anthology is a collection of fifteen articles that cover the richness and depth of Asian martial arts in both movies and literature. After look over the array of topics, I decided to utilize writings by James Grady for the two introductory chapters. Grady is an internationally renowned writer and investigative journalist known for his nail-biting thriller novels. His early novel was adapted to film as Three days of the Condor (1975) starring Robert Redford. Grady has since written over a dozen wonderful novels and in between wrote two excellent pieces for the Journal of Asian Martial Arts: one dealing with movies and another with literature. The following chapters are greatly enriched by the informative contents in Grady’s chapters. Details about movie-making are provided in the interview with producer Andre Morgan (Enter the Dragon, Walter Texas Ranger, Martial Law, etc.), plus the inside scoop in the publishing and film industries in the interview with multifaceted Curtis Wong. Actor/producer/kickboxing champion Don Wilson provides insights from both sides of the camera in his interview. Among the chapters are Albert Dalia’s exposition of China’s “wandering martial hero” stories that have roots reaching back two thousand years; Christopher Bates’ excerpt from Xiang Kairan’s Tales of Chivalrous and Altruistic Heroes; and Olivia Mok’s research and translations of sections of Fox Volant of the Snowy Mountain, a Louis Cha’s novel of 1959. In the latter, Mok extricates references to dianxue—the methods of attacking vital points. We also have fiction focusing on Japanese and Chinese martial traditions by John Donohue, Peter Graebner, John DeRose, and John Gilbey’s (aka, Robert W. Smith)—each highlighting combative experience, theory and technique with cultural trimmings. Interviews with Barry Eisler and Author Rosenfeld give insight into scholar/practitioners whose published novels contain text colored by their knowledge of the martial arts and culture. We hope you’ll find this book captivating, exciting, heroic, spellbinding, content rich, fascinating, penetrating . . .

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).

Women and Gender in Chinese Martial Arts Films of the New Millennium, by Ya-chen Chen, is an excavation of underexposed gender issues focusing mainly on contradictory and troubled feminism in the film narratives. In the cinematic world of martial arts films, one can easily find representations of women of Ancient China released from the constraints of patriarchal social order to revel in a dreamlike space of their own. They can develop themselves, protect themselves, and even defeat or conquer men. This world not only frees women from the convention of foot-binding, but it also "unbinds" them in terms of education, critical thinking, talent, ambition, opportunities to socialize with different men, and the freedom or right to both choose their spouse and decide their own fate. Chen calls this phenomenon "Chinese cinematic martial arts feminism." The liberation is never sustaining or complete, however; Chen reveals the presence of a glass ceiling marking the maximal exercise of feminism and women's rights which the patriarchal order is willing to accept. As such, these films are not to be seen as celebrations of feminist liberation, but as enunciations of the patriarchal authority that suffuses "Chinese cinematic martial arts feminism." The film narratives under examination include Crouching Tiger, Hidden Dragon (directed by Ang Lee); Hero (Zhang Yimou); House of the Flying Daggers (Zhang Yimou); Seven Swords (Tsui Hark); The Promise (Chen Kaige); The Banquet (Feng Xiaogang); and Curst of the Golden Flower (Zhang Yimou). Chen also touches upon the plots of two of the earliest award-winning Chinese martial arts films, A Touch of Zen and Legend of the Mountain, both directed by King Hu.

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.

This book focuses on the philosophy of Chinese martial arts film, arguing that philosophy provides a key to understanding the whole genre. It draws on Chinese philosophical ideas derived from, or based on, Confucianism, Daoism, Buddhism, and other schools of thought such as Mohism and Legalism, examines a cluster of recent Chinese martial arts films centering on the figure of the xia—the heroic protagonist, the Chinese equivalent of medieval Europe’s knight-errant—and outlines the philosophical principles and themes undergirding the actions of xia and their narratives. Overall, the author argues that the genre, apart from being an action-oriented entertainment medium, is inherently moral and ethical.

This landmark work provides a wide-ranging scholarly consideration of the traditional Asian martial arts. Most of the contributors to the volume are practitioners of the martial arts, and all are keenly aware that these traditions now exist in a transnational context. The book's cutting-edge research includes ethnography and approaches from film, literature, performance, and theater studies. Three central aspects emerge from this book: martial arts as embodied fantasy, as a culturally embedded form of self-cultivation, and as a continuous process of identity formation. Contributors explore several popular and highbrow cultural considerations, including the career of Bruce Lee, Chinese wuxia films, and Don DeLillo's novel Running Dog. Ethnographies explored describe how the social body trains in martial arts and how martial arts are constructed in transnational training. Ultimately, this academic study of martial arts offers a focal point for new understandings of cultural and social beliefs and of practice and agency.