Wuxia
From Karate, Kungfu, Wrestling, Mixed Fighting Information Source
Wuxia literally means martial art heroes is a sub-genre of the fantasy genre in literature, books and martial art films. This kind of movies are usually based on stories from ancient China which usually revolves around a swordsman that serves for the emperor or who rebels against the emperor. A combination of xia (chivalry) philosophy and Chinese Martial Arts are commonly the underlying presupposition of these movies.
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History
Early Years
China's film industry began in Shanghai in 1917 and filmmakers quickly capitalized on the popularity of wuxia stories. As early as the '20s, silent film serials depicting knight errantry battling mythical creatures and performing superhuman feats were being made. Early use of special effects to portray fantasy elements like animated creatures or bolts of chi energy were created by drawing directly on the film cels. Burning of the Red Lotus Monastery (1928) is cited as one of the first major wuxia films ever made. The Swordswoman of Huangjiang (1930) is one of the earliest surviving examples that also highlights the unique popularity of female warriors within the wuxia tradition.
By 1949, Communism had swept throughout China and filmmakers relocated to Hong Kong and Taiwan where martial arts and wuxia films continued to be made. Strong fantasy and magical elements dominated the wuxia films of the '50s and early '60s. This is where filmmakers tested and developed tried and true techniques of creating superhuman feats that have since had a profound impact on martial arts filmmaking. This is where wirework, the use of thin wires and harnesses to elevate actors, originated. Other common devices and tricks came into use including trampolines, reverse-shots, and undercranking of the camera to speed up the action.
Modern Years
In the mid-'60s a new brand of wuxia film emerged, one increasingly influenced by Japanese samurai action found in Jidaigeki (period dramas). Japanese cinema had become far more sophisticated in production standards and popular samurai films like The Tale of Zatoichi (1962) were taking on a realistic and increasingly bloody style of swordplay. In response, Hong Kong filmmakers moved swordplay in wuxia a little closer to reality by depicting heroes as having developed supreme skills through years of training rather than through magic. These skills featured little or no magical elements, only exaggerated proficiency. Yet a big difference between Japanese and Hong Kong swordplay films continued to be the immense popularity of female stars in Hong Kong that led them to be cast in leading action roles. Cheng Pei-pei, who shot to superstardom in Come Drink With Me (1966) and again found fame thirty-four years later in Crouching Tiger, Hidden Dragon (2000) remains the leading martial arts actress from this era.
Temple of the Red Lotus (1965) and The Jade Bow (1966) are key transitional films from this period and illustrate the changing face of wuxia as they contain elements from both vintage and modern wuxia. It was King Hu's Come Drink With Me, with its eye-catching art direction and sophisticated action choreography that more fully defined the modern wuxia film.
Some listings of Wuxia films
- One-Armed Swordsman (1967)
- A Touch of Zen (1971)
- Ashes of Time (1994)
- Crouching Tiger, Hidden Dragon (2000)
- Hero (2002)
