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|標題:||Confronting Orientalism with Cinematic Art: Cultural Representation in Bruce Lee's The Way of the Dragon
|作者:||Min-Hua Wu||關鍵字:||李小龍;《猛龍過江》;東方主義;霸權;文化研究;電影藝術;Bruce Lee;The Way of the Dragon;Orientalism;hegemony;Cultural Studies;cinematic art||Project:||Intergrams, Volume 16, Issue 2, Page(s) 30-50.||摘要:||
Taking Edward Said's discourse on Orientalism as a point of departure, this paper attempts to explore how Bruce Lee confronts Orientalism with cinematic art. It analyzes one of Lee's representative films, The Way of the Dragon, examining how the director manipulates traditional kung fu cameras to subvert stereotypical cultural representations. In this unique action film, he makes the best of Chinese kung fu while appealing to the art of Western filmmaking, where-as an actor and director- he strives to screen against and beyond occidental stereotypes. As a result, he transforms a Western mythology into an Asian heroic myth and tinges the theory and practice of his kung fu formation with a Gramscian hegemonic vein in a sophisticated manner. This study also discusses audience receptions of Lee's cinematic representations based on Stuart Hall's encoding-decoding model for cultural analysis. From Lee's brand new perspective, the audience witnesses that an Oriental nobody dares to go so far as to stand up against Orientalism and manage to defy Western sweeping generalizations of the Orient. The film thus rewrites the stereotypical discourse that portrays the socalled Chinaman as affected and not effective. Presenting a firm Chinese subjectivity by means of kung fu fightings on the stage and in the limelight, Lee succeeds in asserting himself as an important international cinematic figure who in one sense or another utters the unutterable suppressed inner voices for the Chinese people, the Oriental, and all those who belong to the marginal.
|Appears in Collections:||第16卷 第02期|
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