Kung Fu Filmleri: Dövüş Sanatlarının Estetik ve Dramatik Yönleri

Kung fu film (Chinese: 功夫片; pinyin: Gōngfu piàn; Jyutping: Gung1fu1pin3) is a subgenre of martial arts films and Hong Kong action cinema set in the contemporary period and featuring realistic martial arts. It lacks the fantasy elements seen in wuxia, a related martial arts genre that uses historical settings based on ancient China.[1] Swordplay is also less common in kung-fu films than in wuxia and fighting is done through unarmed combat.[2]

The kung fu genre was born in Hong Kong as a backlash against the supernatural tropes of wuxia.[4] The wuxia of the period, called shenguai wuxia, combined shenguai fantasy with the martial arts of wuxia. Producers of wuxia depended on special effects to draw in larger audiences like the use of animation in fight scenes. The popularity of shenguai wuxia waned because of its cheap effects and fantasy cliches, paving the way for the rise of the kung fu film.[5] The new genre still shared many of the traits of wuxia. Kung fu protagonists were exemplars of chivalry akin to the ancient youxia, the knight-errants of Chinese wuxia fiction.[6]

kung fu filmleri

The kung fu genre reached its height in the 1970s, coinciding with Hong Kong's economic boom.[12] It overtook the popularity of the new school (xinpai) wuxia films that prevailed in Hong Kong throughout the 1950s and 1960s.[13] Wuxia had been revitalized in the newspaper serials of the 1950s and its popularity spread to cinemas in the 1960s.[14] It displaced the kung fu dramatizations of Wong Fei-hung and brought back the supernatural themes of traditional wuxia cinema.[15] The rivalry between the Shaw Brothers, Golden Harvest, and Seasonal Films studios stimulated the growth of kung fu movies in the Hong Kong film industry.[16] The Chinese Boxer (1970) directed by Wang Yu and Vengeance directed by Chang Cheh in 1970 were the first films of the resurgent kung fu genre.[17][18]

The new wave of kung fu films reached international audiences after the financial success of Bruce Lee's first feature-length film, The Big Boss, in 1971.[19][20] Lee spent most of his childhood in Hong Kong where he learned wing chun martial arts and performed as a child actor. He left for the United States, his place of birth, and continued his martial arts training as a high school student. In America, he created Jeet Kune Do, a martial arts style inspired by wing chun, and briefly worked in Hollywood as a film and television actor.[21]

He returned to Hong Kong and performed his breakthrough role in The Big Boss, followed by five more films. The movies of Bruce Lee began a trend of employing genuine practitioners of martial arts as actors in martial arts films.[22] Kung fu films were internationally successful and popular in the West where a kung fu fad had taken root.[23] The anti-imperialist themes of his films held a broad appeal for groups that felt marginalized and contributed to his popularity in Southeast Asia and the African-American and Asian-American communities of urban America.[24][25] Audiences were sympathetic with Lee's role as a minority figure struggling against and overcoming prejudice, social inequality, and racial discrimination.[26]

The genre declined after Bruce Lee's sudden death in 1973. In the same year, a stock market crash brought Hong Kong into a recession.[27] During the economic downturn, audiences in Hong Kong shifted to favoring comedies and satires.[28] In the late 1970s the kung fu comedy appeared as a new genre, merging the martial arts of kung fu films with the comedy of Cantonese satires.[29] The films of Lau Kar-leung, Yuen Woo-ping, and Sammo Hung followed this trend.[30] Yuen's Drunken Master in 1978 was a financial success that transformed Jackie Chan, its leading actor, into a major Hong Kong movie star.[31]

The mixture of slapstick comedy with martial arts reinvigorated the kung fu genre. Jackie Chan was the first significant action hero and martial arts performer to emerge from Hong Kong after the death of Bruce Lee.[32] The films of Jackie Chan and Sammo Hung integrated techniques from Peking Opera, which both had trained in prior to their work as stuntmen and extras in the Hong Kong studio system.[33][34] They were students of China Drama Academy, a Peking opera school operated by Yu Jim-yuen, which brought elements of combat and dance from Beijing into Cantonese opera.[35] The Peking Opera-influenced martial arts of kung fu comedies were more fluid and acrobatic than traditional kung fu films.[36] In the 1980s, Jackie Chan and Sammo Hung transitioned to kung fu films set in urban environments.[37]

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Kung fu filmleri türkçe dublaj

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The realism of the kung fu genre has been blurred with the widespread use of computer-generated imagery (CGI) in the industry. Technology has enabled actors without martial arts training to perform in kung fu films.[38] Wuxia films experienced a revival in recent years with the films of Ang Lee and Zhang Yimou.[39] Kung fu comedies remain popular staples of Hong Kong cinema and the kung fu films of Stephen Chow have been box office hits. His 2001 film Shaolin Soccer combined kung fu, modified using CGI, with the sports and comedy genres.[40] Chow's 2004 film Kung Fu Hustle, choreographed by martial arts directors Sammo Hung and Yuen Woo-ping, was a similar mixture of kung fu and comedy that achieved international success.[41] Donnie Yen, who emerged during the early 1990s in Jet Li's Once Upon a Time in China II, is currently Hong Kong's highest-paid actor, starring in several films which helped him achieve international recognition, such as the Ip Man trilogy and Legend of the Fist: The Return of Chen Zhen.

The competing Shaw Brothers and Golden Harvest studios entered Western markets in the 1970s by releasing dubbed kung fu films in the United States and Europe. Films like The Big Boss (Fists of Fury) and King Boxer (Five Fingers of Death) were box office successes in the West.[42] By the 1980s and 1990s, American cinema had absorbed the martial arts influences of Hong Kong cinema.[43] The Matrix, directed by the Wachowskis, was choreographed by martial arts director Yuen Woo-Ping. Martial arts stars like Jackie Chan and Jet Li left Hong Kong to star in American films, but occasionally returned to Hong Kong.[44]

At the same time, Shifu holds a tournament for the Five so that Oogway can identify the Dragon Warrior, the prophesied hero worthy of reading the Scroll, which is said to grant limitless power to its reader. Po arrives too late to enter the arena; desperate to see his idols, he accidentally launches himself into the middle of the tournament off of a chair propelled by fireworks, Oogway proclaims Po the Dragon Warrior. Believing Oogway's decision to be an accident, a shocked Shifu tries to dispose of Po with a harsh training regimen, while the Five dismiss Po as an enthusiast with no potential in kung fu. Po considers quitting, but after receiving encouragement from Oogway, he endures his training and gradually befriends Monkey, Crane, Mantis, and Viper with his resilience, culinary skill, and good humor.

Meanwhile, Shifu discovers that Po is capable of impressive physical feats when motivated by food, and successfully trains Po by incorporating these feats into an innovative kung fu style. The Furious Five fight Tai Lung; however, all but Crane are soon defeated by his nerve-strike technique. Crane carries the paralyzed Five back to the Jade Palace, where Shifu revives them and decides that Po is ready to receive the Dragon Scroll. When Po reads it, he discovers that the scroll is nothing but a blank reflective surface. Despaired, Po and the Five evacuate the inhabitants of the Valley, while Shifu prepares to face Tai Lung alone. In trying to console a distraught Po, Mr. Ping reveals that his "secret ingredient soup" has no secret ingredient at all, explaining that things can become special with belief.

Realizing that this is the message of the Dragon Scroll, Po rushes back to help Shifu. At the Jade Palace, Tai Lung overpowers Shifu and demands to know the location of the Scroll. Po arrives with the Dragon Scroll and challenges Tai Lung to combat. Po proves to be a formidable opponent, frustrating Tai Lung with his confusing fighting techniques. Tai Lung eventually wins, but also despairs over the blank scroll, and takes his anger out on Po. Discovering that his body fat renders him immune to Tai Lung's nerve strikes, Po trounces his adversary with his new kung fu style, and eventually defeating him using the Wuxi Finger Hold technique. Po is honored by the Valley and gains the respect of Tigress and the Furious Five. In a post-credits' scene, Shifu and Po share a meal while a peach that Shifu had planted earlier grows into a tree in the background.

Let's try to make it a real martial arts movie albeit one with a comic character and let's take our action seriously. Let's not give anything up to the big summer movies. Let's really make sure that our kung fu is as cool as any kung fu ever done so that we can take our place in that canon and make sure it's a beautiful movie because great martial arts movies are really beautiful-looking movies and then let's see if we can imbue it with real heart and emotion.

Reportedly inspired by Stephen Chow's 2004 martial arts action comedy film, Kung Fu Hustle,[15] the co-directors wanted to make sure the film also had an authentic Chinese and kung-fu feel to it. Production designer Raymond Zibach and art director Tang Heng spent years researching Chinese painting, sculpture, architecture and kung-fu films to help create the look of the film.[16] Zibach said some of the biggest influences for him are the more artful martial arts films such as Hero, House of Flying Daggers and Crouching Tiger, Hidden Dragon.[16] Stevenson's aim for the film, which took four years to make, was to make "the best looking film DreamWorks has ever made".