Category Archives: Asia

Evan and Gordon Talk: Kung Fu Movies

EVAN: Last week you all voted for us to talk about the popularity of kung fu movies, so that is what we’re doing. The question that’s been on my mind being, why aren’t they popular anymore?

GORDON: See, I’m gonna have to butt heads with you right out of the gate. I just don’t think that kung fu movies are unpopular- at least, not anymore than at the supposed height of their glory…

EVAN: But there’s definite evidence of a time when they were all the rage. There were the dubbed martial arts films in the 70s and 80s, as well as the immense popularity of actors like Bruce Lee, Jackie Chan, and now Jet Li.

GORDON: No argument there.

EVAN: Recently, all that really comes to mind is Li’s role in The Expendables 2. Which is by no means a large one, considering the immensity of its cast.

GORDON: Well, that’s part of the problem- movies have developed since the 70s and 80s- none perhaps more dramatically than the action flick. Take The Matrix, for example.

EVAN: Definitely a revolutionary flick.

GORDON: Amazing stunts, choreography, and so on- and all hugely influenced by kung fu movies. In fact, Wikipedia goes right ahead and lists it as a “King Fu” movie.

Now look at an action film from the 60s or 70s. At the very best, you get Dirty Harry pistol-whipping some thug, and more often than not, you get Captain Kirk doing some weird slap-fight with a man in green spandex.

EVAN: Hey, that man in green spandex had it coming.

GORDON: This is true. What I’m driving at here, I guess, is that kung fu movies haven’t gone away- they’ve been incorporated into every major action flick made since the 80s.

Just look at fight scenes in a modern action movie- that’s Judo, or Jui Jitsu, or Karate, or Muay Thai, and so on and so forth.

EVAN: Okay, let me come at this from a different angle. Would you say that at this point in time, Jet Li is the go-to guy as an Asian actor who specializes in martial arts?

GORDON: More or less, sure.

EVAN: How many [Western] movies has the guy been in compared to Jason Statham?

GORDON: Couldn’t say. I’m guessing Statham’s got him beat, though.

EVAN: Why is it that more often than not, whenever martial arts are depicted in a movie they’re performed by a white guy?

GORDON: Oof- where to begin? Tacit racism, hiring ease, translation, and so on.

EVAN: I’m just saying that there was a time, mid to late 90s and early 00s where Asian actors could still headline these films. You’ve got the Rush Hour films and Shanghai Noon and its sequel, to name some Jackie Chan vehicles. And you had stuff like Romeo Must Die with Jet Li.

As far as Wikipedia can tell me, all the martial arts films starring Asians in the last few years were made in Asia.

GORDON: And are nevertheless seen by Western audiences. Take The Raid, an Indonesian film, or The Man With the Iron Fists, which people are pretty psyched for, or Tony Jaa’s work.

EVAN: Yes. Tony Jaa.

GORDON: As there did before. I mean, barring certain movies, like Crouching Tiger, Hidden Dragon or Rush Hour, how much appeal did kung fu movies have anyways? I’m not knocking them or anything, but it seems that with certain exceptions for major pieces, kung fu movies (in the West) have always been mostly popular as a sugenre with fans of said subgenre. Much like the monster movie, or the sci-fi horror.

EVAN: At some point they epitomized the action genre, so I’d say they had a lot of appeal. I mean, it rode the trend of dojos and whatnot opening up all over North America.

GORDON: Wasn’t that with the 80s stupid action flick, though? I mean, c’mon. It was the 80s. Get some Aryan guy to face-kick a bunch of minorities, slap on an over-the-top title and you’ve got a hit.

EVAN: I was mostly referring to the fact that Asian martial arts films became so popular that they started creating them in Hollywood, using Asian actors.

GORDON: So the issue here isn’t kung fu- it’s Asians in media…

EVAN: We can concentrate on the genre and its popularity before we follow that train of thought. Why do you think it’s lessened so much? And if it has, what has replaced it?

GORDON: I think that the rise in awareness of martial arts in the West is responsible for that. Suddenly, you can get all the amazing choreographed fights without them being (necessarily) rooted in Asian culture.

The equivalent would probably be the Western/Cop flick and it’s influence on Hong Kong action movies.

EVAN: So what you’re saying is that Western culture has realized that this isn’t a genre that solely the East can lay claim to.

GORDON: Not entirely, anyways. Depends on how you define a “Kung Fu Movie.” I was just going with a movie that’s heavily rooted in martial arts.

EVAN: I mean, I’d say that it’s because the Asian actors that we [Westerners] can relate to are getting old. Jackie Chan is 58. Jet Li is 49. No one has really stepped up [or has been able to] and taken their places.

GORDON: Well- no argument there. Barring perhaps Tony Jaa. Who will **** you up if you so much as look at his elephant the wrong way.

EVAN: ช้าง อยู่ ไหน [chang yuu nai]?! If you saw the movie, you’d get it.

GORDON: Go see the movie. Now.

EVAN: Watch it please. Tom Yum Goong as it was released in Thailand, but retitled The Protector for an American release.

GORDON: Also, eat tom yum goong. It is the best thing ever.

EVAN: Anyway. I just think it’s interesting, the fact that there’s clearly still an interest in Asian martial arts.

Using two panda-related examples, Dreamworks’ Kung Fu Panda movies, and Blizzard’s upcoming expansion for World of WarCraft, Mists of Pandaria.

GORDON: This is true.

EVAN: Pandarens had existed in WarCraft for years before those movies, by the way. Just for everyone who’s saying that Blizzard ripped the concept of anthropomorphic martial arts fighting pandas from a Jack Black movie.

GORDON: And with that, we’re out of time.

EVAN: Don’t we have ten more minutes? We started at ten past.

GORDON: Oh. I thought we started on the hour.

EVAN: Nay. And we’re keeping all of this dialogue.

GORDON: To assure our readers that we too are flawed mortals?

EVAN: Well, that one of us is.

GORDON: Touché.

Back on the subject- let’s not forget that thanks to Netflix and piracy, it’s easier and easier to get movies from out of the country anyways. Just look at Red Cliff.

EVAN: Red Cliff?

GORDON: Epic action movie. Based on ancient Chinese history, and a text called “The Romance of the Three Kingdoms,” if I recall correctly. Some sort of an Eastern equivalent to “swords and sandals” flicks. Which are awesome, by the way.

EVAN: Yes. We do love our “swords and sandals” movies.

GORDON: Go watch Ironclad. Watch it now.

EVAN: If only to watch Paul Giamatti’s veins pop out on his neck as an angry King John.

GORDON: Words cannot describe how irritated he is in that movie. It defies logic.  Also, a man gets beaten to death with his own arm.

EVAN: Actually, I am fairly sure the severed arm belonged to a different guy.

Back on topic one last, time, before we run out of it- It seems that Asian cinema continues to chug on, producing martial arts movies even if Western Cinema has since moved past that. In a way, what was popular for a period of time in Hollywood never stopped in Asia. Though those movies still changed the action genre in a huge way.

GORDON: Absolutely. From The Bourne Identity to Batman Begins, the blood of Kung Fu movies still pumps strong. And with that, we’re out of time. Be sure to swing in next week for our discussion on the upcoming season of Community.

EVAN: Nooooooooo. That’s next-next week. The day before the new season starts.

GORDON: Why must you make a fool of me?

EVAN: Why must you make a fool of yourself.

GORDON: Anyways. Be sure to vote for our discussion topic next week.

EVAN: And thanks for reading!

Why I’m Okay With The Mandarin

This is part of a multi-blog series about Race and Comic Books put together by RodtRDH. Justin Tiemeyer has written the first of many such posts [about black comic book characters] on his blog, Cavemen Go.
                                                                                                                                                                  

One of my favourite blogs [you can see it in the sidebar] featured an article sometime ago titled “On Marvel, Mandarin, and Marginalization.” The gist of said article asking why an Asian villain like the Mandarin is being portrayed before any Asian American lead heroes. I’m going to start my defence with the quotes racebending.com used:

“There are certain fears and certain strengths the character evokes that are applicable, but of course you have to completely remove any of that short sighted cultural ignorance that leads to any sort of bigotry in the storytelling. That isn’t to say those fears and shortcomings of Iron Man as relating to that character aren’t relevant…He was based in China which was then mysterious because it was Red China. Today China is mysterious in other ways because it’s Global China.”

– Jon Favreau, director of Iron Man and Iron Man 2 to CHUD in 2006

“You have to do The Mandarin. The problem with The Mandarin is, the way it’s depicted in the comic books, you don’t want to see that.”

– Favreau again, to MTV in 2010

“The Mandarin is a racist caricature.”

– Iron Man 3 director Shane Black at Long Beach ComicCon, October 2011

I’m not going to skirt around the fact that the character was indeed rooted in the “yellow peril” that was rampant at the time of his inception, but the following images should paint a picture of his evolution since that time.

From left to right: The Mandarin as he first appeared in the 60s, then the 90s, and the present day.

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Ai Weiwei and the inevitable human rights movement in China

Ai Weiwei: sunflower seed enthusiast, among other things

So Ai Weiwei has been in the news recently because he spoke for the first time about the details of his 3 month detention. “Who the heck is Ai Weiwei?”, you ask? LET ME TELL YOU.

Arrest
Some background: Ai is sort of a politically active artist (or artistic political activist) who’s famous for speaking against the People’s Republic of China, specifically its inhibition of free speech and cover-ups of police brutality and general nastiness towards anyone who complains about anything the government’s doing. The People’s Republic of China demolished Ai’s studio earlier this year and arrested him on April 3rd (just as he was getting ready to fly to Hong Kong) for the kind of horrifyingly vague reason given that he had “other business” to attend to. One of Ai’s anonymous associates was quoted by the New York Times as saying: “[Ai] told me that when he was taken from the airport, the police told him: ‘You always give us trouble, now it’s time for us to give you trouble.’

Later the People’s Republic of China rather unconvincingly changed the charge on Ai to tax evasion.

Artwork

Ai Weiwei, “Dropping a Han Dynasty Urn”

Most everyone else, however, figures that the reason has something more to do with his vocal political activism, both on his Twitter account and in his artwork, like the photo triptych of him breaking a Han Dynasty urn, or Grass Mud Horse Covering the Middle, which doesn’t seem terribly political until you find out that the title, in the original language, sounds something like “F*** your mother, Chinese Communist Party.”

Ai Weiwei, "Grass Mud Horse Covering the Middle", the title of which sounds like "F*** your mother, Chinese Communist Party" in Chinese

The Growing Human Rights Movement in China
Ai Weiwei is just the most media-visible figure in a large network of grass-roots human rights activists in China, one that can only continue to grow. And every effort the People’s Republic of China makes to cover up a situation or detain an inconveniently vocal activist creates a chain reaction of others publicly calling for that person’s release and bringing more, not less, attention to protestors: Zhao Lianhai, who spent time in prison after he organised a group seeking compensation for families of children who died or became ill due to tainted baby formula, was shortly detained after calling for Ai’s release; this drew more attention to Zhao and his claim that he was force-fed through the nose while on a hunger strike. Wang Lihong, an activist who draws attention to and investigates instances of suspected government injustice, was arrested in March and faces prison time for “creating a disturbance“; her case is in turn receiving public attention largely because Ai Weiwei is calling for her release.

It’s kind of nerve-wracking to watch but it seems sort of inevitable that as China becomes more prevalent in the international economy, it will become harder for the Chinese government to censor communication across the internet, and the human rights movement will become something impossible for the government stifle.

Things are going to get serious, is what I’m trying to say, and the human rights movement in China is going to be getting a lot of attention in the next decade.

The Representation of East Asian Characters in Two Popular Western Comic Strips

Familiar to almost anyone who grew up in America, Archie Comics has told the stories of a fairly interesting group of teenagers living in the town of Riverdale for decades. First established in 1939 these comics are still published today, 72 years of panels featuring that insipid redhead Archie Andrews and his friends [who I actually don’t mind]. The comic strip Zits, on the other hand, was first published in 1997, and has for 14 years chronicled the misadventures of much-more-modern teenager Jeremy Duncan and his own group of eclectic young people.

It’s not difficult to see how the two [a single strip and all those created by an entire company] are similar to one another. Both are about American teenagers and their day-to-day lives, albeit living in very different eras. Having originated in the late 30s Archie and his friends have moved forward generation after generation, yet stick to a much lighter tone in regards to issues that teenagers have to face. Zits, starting at the turn of the 20th century, has a more realistic view of the high school years, addressing such topics as the disconnect between teenagers and their parents, the short attention span of today’s youth, and so on.

What I would like to explore and elaborate upon is the representation of Asian characters, specifically those of East Asian descent. Both of these comics are [or, at the very least, have been] immensely popular, and as a result their content is in part representative of what the West [in this case Canada and America] is familiar and comfortable with. Continue reading