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A Touch Of Zen
''A Touch of Zen'' (Chinese: 俠女) is a 1971 ''wuxia'' film co-edited, written, and directed by film maker King Hu. Its screenplay is based on a classic Chinese story " Xianü" in the book ''Strange Stories from a Chinese Studio'' by Pu Songling. The film is set in the Ming dynasty under the dominance of eunuchs and narrates multiple themes of transcendence of dichotomies, Zen Buddhism, feminism, conservative female roles, and the ghost story. At the 1975 Cannes Film Festival, the film won the Technical Grand Prize award. The film was produced in Taiwan and funded by the Union Film Company. Because the director Hu was a filmmaker in the Shaw Brothers Studio before moving to Taiwan, the emergence of the film established the international visibility of the Hong Kong New Wave. Although filming began in 1968, ''A Touch of Zen'' was not completed until 1971. The original Taiwanese release was in two parts in 1970 and 1971 (filming was still ongoing when the first part was released) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
King Hu
Hu Jinquan (29 April 1932 – 14 January 1997), better known as King Hu, was a Chinese film director and actor based in Hong Kong and Taiwan. He is best known for directing various ''wuxia'' films in the 1960s and 1970s, which brought Hong Kong and Taiwanese cinema to new technical and artistic heights. His films ''Come Drink with Me'' (1966), ''Dragon Inn'' (1967), and ''A Touch of Zen'' (1970–1971) inaugurated a new generation of ''wuxia'' films in the late 1960s. Apart from being a film director, Hu was also a screenwriter and set designer. Early life Hu was born in Beijing to a well-established family originating from Handan, Hebei. His grandfather was the governor of Henan in the late Qing Dynasty. His father had studied in Japan and was the owner of the local coal mine. His uncle was a high ranking official in the Republican government. Several of his brothers held high positions in the Communist government. Hu grew up in Beijing as a child. He emigrated to Hong Kong in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wang Jui
Wang Hsi-jui (; 25 July 1930 – 1 June 2016), known by his stage name Wang Jui (), was a Taiwanese actor. He won the Golden Bell Award three times. Wang died in Taipei of heart and lung failure on 1 June 2016 at the age of 85. Selected filmography *''A Touch of Zen'' (1971) *''Eat Drink Man Woman'' (1994) *''Super Citizen Ko'' (1995) *''Island of Greed ''Island of Greed'' is a 1997 Hong Kong action political crime thriller film directed by Michael Mak and starring Andy Lau and Tony Leung Ka-fai. The film is set and filmed in Taiwan and deals with corruption in the Government of the Republic o ...'' (1997) References External links * * 2016 deaths Taiwanese male film actors Taiwanese male television actors 1930 births Taiwanese people from Shandong {{Taiwan-actor-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Filial Piety
In Confucianism, Chinese Buddhism, and Daoist ethics, filial piety (, ''xiào'') (Latin: pietas) is a virtue of respect for one's parents, elders, and ancestors. The Confucian ''Classic of Filial Piety'', thought to be written around the late Warring States-Qin-Han period, has historically been the authoritative source on the Confucian tenet of filial piety. The book—a purported dialogue between Confucius and his student Zengzi—is about how to set up a good society using the principle of filial piety. Filial piety is central to Confucian role ethics. In more general terms, filial piety means to be good to one's parents; to take care of one's parents; to engage in good conduct, not just towards parents but also outside the home so as to bring a good name to one's parents and ancestors; to show love, respect, and support; to display courtesy; to ensure male heirs; to uphold fraternity among brothers; to wisely advise one's parents, including dissuading them from moral unrighte ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Śūnyatā
''Śūnyatā'' ( sa, wikt:शून्यता#Sanskrit, शून्यता, śūnyatā; pi, suññatā) pronounced in English as (shoon-ya-ta), translated most often as ''emptiness'', ''vacuity'', and sometimes ''voidness'', is a Buddhism, Buddhist concept which has multiple meanings depending on its doctrinal context. It is either an ontological feature of reality, a meditative state, or a phenomenological analysis of experience. In Theravada, Theravāda Buddhism, ''Suññatā'' often refers to the Anatta, non-self (Pāli: ''anattā'', Sanskrit: ''anātman'') nature of the Skandha, five aggregates of experience and the Āyatana, six sense spheres. ''Suññatā'' is also often used to refer to a Buddhist meditation, meditative state or experience. In Mahayana, Mahāyāna Buddhism, ''śūnyatā'' refers to the tenet that "all things are empty of intrinsic existence and nature (''svabhava'')", but may also refer to the Buddha-nature teachings and primordial or empty awar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Confucianism
Confucianism, also known as Ruism or Ru classicism, is a system of thought and behavior originating in ancient China. Variously described as tradition, a philosophy, a religion, a humanistic or rationalistic religion, a way of governing, or a way of life, Confucianism developed from what was later called the Hundred Schools of Thought from the teachings of the Chinese philosopher Confucius (551–479 BCE). Confucius considered himself a transmitter of cultural values inherited from the Xia (c. 2070–1600 BCE), Shang (c. 1600–1046 BCE) and Western Zhou dynasties (c. 1046–771 BCE). Confucianism was suppressed during the Legalist and autocratic Qin dynasty (221–206 BCE), but survived. During the Han dynasty (206 BCE–220 CE), Confucian approaches edged out the "proto-Taoist" Huang–Lao as the official ideology, while the emperors mixed both with the realist techniques of Legalism. A Confucian revival began during the Tang dynasty (618–907 CE). In the late Tang, C ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Blocking (stage)
In theatre, blocking is the precise staging of actors to facilitate the performance of a play, ballet, film or opera. Historically, the expectations of staging/blocking have changed substantially over time in Western theater. Prior to the movements toward "realism" that occurred in the 19th century, most staging used a "tableau" approach, in which a stage picture was established whenever characters entered or left the stage, ensuring that leading performers were always shown to their best advantage. In more recent times, while nothing has changed about showing leading performers to their best advantage, there have been changing cultural expectations that have made blocking/staging more complicated. There are also artistic reasons why blocking can be crucial. Through careful use of positioning on the stage, a director or performer can establish or change the significance of a scene. Different artistic principles can inform blocking, including minimalism and naturalism. Etymology Bo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jump Cuts
A jump cut is a cut in film editing in which a single continuous sequential shot of a subject is broken into two parts, with a piece of footage being removed in order to render the effect of jumping forward in time. Camera positions of the subject in the remaining pieces of footage of the sequence should vary only slightly in order to achieve the effect. It is a manipulation of temporal space using the duration of a single shot, and fracturing the duration to move the audience ahead. This kind of cut abruptly communicates the passing of time as opposed to the more seamless dissolve heavily used in films predating Jean-Luc Godard's '' Breathless'', which made extensive use of jump cuts and popularized the technique during the 1960s. For this reason, jump cuts are considered a violation of classical continuity editing, which aims to give the appearance of continuous time and space in the story-world by de-emphasizing editing, but are sometimes nonetheless used for creative purposes. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shot Reverse Shot
Shot/reverse shot (or shot/countershot) is a film technique where one character is shown looking at another character (often off-screen), and then the other character is shown looking back at the first character (a or ). Since the characters are shown facing in opposite directions, the viewer assumes that they are looking at each other. Context Shot/reverse shot is a feature of the "classical" Hollywood style of continuity editing, which deemphasizes transitions between shots such that the spectator perceives one continuous action that develops linearly, chronologically, and logically. It is an example of an eyeline match An eyeline match is a film editing technique associated with the continuity editing system. It is based on the premise that an audience will want to see what the character on-screen is seeing. An eyeline match begins with a character looking at so .... References Sources Cinematography Film editing Cinematic techniques Television terminology ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Eyeline Match
An eyeline match is a film editing technique associated with the continuity editing system. It is based on the premise that an audience will want to see what the character on-screen is seeing. An eyeline match begins with a character looking at something off-screen, followed by a cut of another object or person: for example, a shot showing a man looking off-screen is followed by a shot of a television. Given the audience's initial interest in the man's gaze, it is generally implied on the basis of the second shot that the man in the first was looking at the television, even though the man is never seen looking at the television within the same shot. Alfred Hitchcock's ''Rear Window'', for example, makes frequent use of eyeline matches. The main character, played by James Stewart, is confined to his apartment and often looks out its rear window at events in the buildings across from him. Hitchcock frequently cuts from Stewart looking off-screen to various people and events that are a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Montage (filmmaking)
Montage (, ''mon-TAHJ'') is a film editing technique in which a series of short shots are sequenced to condense space, time, and information. The term has been used in various contexts. In French, the word "montage" applied to cinema simply denotes editing. In Soviet montage theory, as originally introduced outside the USSR by Sergei Eisenstein, it was used to create symbolism. Later, the term "montage sequence", used primarily by British and American studios, became the common technique to suggest the passage of time. A montage is a French term meaning “assembling shots” or “putting together.” It’s a film technique for putting together a series of short shots that create a composite picture. In simple terms we can say that montage is a series of separate images, moving or still, that are edited together to create a continuous sequence. Montages enable filmmakers to communicate a large amount of information to an audience over a shorter span of time by juxtaposing diff ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hong Kong Cinema
The cinema of Hong Kong ( zh, t=香港電影) is one of the three major threads in the history of Chinese language cinema, alongside the cinema of China and the cinema of Taiwan. As a former British colony, Hong Kong had a greater degree of political and economic freedom than mainland China and Taiwan, and developed into a filmmaking hub for the Chinese-speaking world (including its worldwide diaspora). For decades, Hong Kong was the third largest motion picture industry in the world following US cinema and Indian cinema and the second largest exporter. Despite an industry crisis starting in the mid-1990s and Hong Kong's transfer to Chinese sovereignty in July 1997, Hong Kong film has retained much of its distinctive identity and continues to play a prominent part on the world cinema stage. In the West, Hong Kong's vigorous pop cinema (especially Hong Kong action cinema) has long had a strong cult following, which is now arguably a part of the cultural mainstream, widely avai ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sammo Hung
Sammo Hung Kam-bo ( zh, t=洪金寶, j=Hung4 Gam1-bou2; born 7 January 1952) is a Hong Kong actor, martial artist, film producer and Film director, director, known for his work in martial arts films, Hong Kong action cinema, and as a fight choreography, fight choreographer for other actors such as Jackie Chan. Hung is one of the pivotal figures who spearheaded the Hong Kong New Wave movement of the 1980s, helped reinvent the martial arts genre and started the vampire-like jiangshi fiction, jiangshi genre. He is widely credited with assisting many of his compatriots, giving them their starts in the Hong Kong film industry, by casting them in the films he produced, or giving them roles in the production crew. Both Sammo Hung and Jackie Chan were often addressed as "Dai Goh”, meaning Big Brother, until the filming of ''Project A (film), Project A'', which featured both actors. As Hung was the eldest of the kung fu "brothers", and the first to make a mark on the industry, he was giv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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