| Beteiligte: | |
|---|---|
| In: | Asian Cinema, 17, 2006, 1, S. 155-165 |
| veröffentlicht: |
Intellect
|
| Medientyp: | Artikel, E-Artikel |
| Umfang: | 155-165 |
|---|---|
| ISSN: |
1059-440X
2049-6710 |
| DOI: | 10.1386/ac.17.1.155_1 |
| veröffentlicht in: | Asian Cinema |
| Sprache: | Englisch |
| Schlagwörter: | |
| Kollektion: | Intellect (CrossRef) |
<jats:p>Chinese culture and cinema have long traditions of martial arts heroines. But it was not until Ang Lee’s Crouching Tiger, Hidden Dragon (2000) that Western audiences finally acclaimed what many in academic and fan circles already knew, namely the role of the martial arts heroine. Ang Lee’s film delivered nothing new as revered martial arts choreographer Yuen Wooping commented upon at the time. Crouching Tiger, Hidden Dragon was a contemporary (and often dreary) art cinema representation of many major achievements within “wu xia” or martial arts narratives. Strongly influenced by the pioneering work of King Hu (1920-1997), whose A Touch of Zen (1971) won the Technical Superiority Film Prize at the 1975 Cannes Film Festival, Crouching Tiger, Hidden Dragon attempted a merger of past and present traditions.</jats:p> |