
Contents
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The Martial-Arts Film and the Political Unconscious The Martial-Arts Film and the Political Unconscious
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The Sick Man of Asia: Kung Fu Cinema and the Legacies of Colonial Modernity The Sick Man of Asia: Kung Fu Cinema and the Legacies of Colonial Modernity
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Fist of Fury and the “Thwarted Narcissism” of the Chinese Male Body Fist of Fury and the “Thwarted Narcissism” of the Chinese Male Body
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The Racial Melancholia of Chinese Masculinity and Traumatic-Melancholic Cinematic Affect The Racial Melancholia of Chinese Masculinity and Traumatic-Melancholic Cinematic Affect
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Conclusion Conclusion
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Notes Notes
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Works Cited Works Cited
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31 Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema
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15 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity
Get accessMichael Eng is Assistant Professor of Philosophy at John Carroll University, where he teaches courses in aesthetics and philosophy and film. He has published on Jean-Luc Godard's TVideo work in relationship to Deleuze's Cinema and on the film/video installation work of the artists Renée Green, Maryam Jafri, and Knut Åsdam. He has an essay on the racial organization of knowledge in The Matrix appearing in the volume Race, Philosophy, and Film (Routledge 2013), and he is currently preparing a manuscript titled “The Sense of the Image: The Metaphysical Imaginary in Cinema, Architecture, and Philosophy.”
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Published:01 October 2013
Cite
Abstract
This chapter argues that the imaginary of the Chinese male body in Hong Kong kung fu cinema functions both as a site through which vengeance is sought against the Chinese experience of modernity as well as a figure of racial melancholia that expresses the failure to achieve such vengeance. Fredric Jameson’s notion of the political unconscious serves as a way to connect existing criticism on the Chinese experience of colonial modernity and the image of Chinese masculinity in kung fu cinema to the question of kung fu cinema’s relationship to Hong Kong’s contemporary historical condition. An analysis of Lo Wei’s Fist of Fury (1972), starring Bruce Lee, then offers the opportunity to explore a particular restaging of colonial modernity by kung fu cinema that invites a consideration of the kung fu film as a vehicle of “traumatic-melancholic cinematic affect.”
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