For my media project in Popular Culture in East Asia, I chose to cross-examine the styles of wuxia cinema against the style of kung-fu cinema, examining martial arts battles from the films Crouching Tiger Hidden Dragon (2000), Fist of Fury/ The Chinese Connection (1972), The Way of the Dragon/ Return of the Dragon 2 (1972), Enter The Dragon (1973), Drunken Master (1978), and Fearless (2006). Studying traditional karate for many years, I’ve always had an interest in martial arts, but never before looked at their significance and representation in cinema. In this class, I have learned that there is more to the act of fighting onscreen than just the action. It is stylized to the point of being a dance between the two fighters, a way in which their prowess and physical abilities are put on display.

My media project is a side-by-side juxtaposition of two martial arts fight scenes, one being of the wuxia style, and the other of kung-fu. This comparison aims to visually differentiate the two styles and understand the cultural significance of these differences. Wuxia in film has become irrevocably linked with the swordplay genre. It is about the artistry of the body in motion, and is based on tradition. The fight is more about two people, locked in a dance. The filming style caters to this choreography by keeping focus on both actors in a scene.

In the wuxia genre, the prowess of the martial artist is greatly exaggerated to superhuman levels of skill and ability. This form of swordplay is rooted in tradition that has been romanticized in literature and on screen, and emphasizes chivalry and the pursuit of righteousness. The characters are more of idealized versions of what real martial artists could be, if they worked hard enough and were disciplined enough to master their Chi and perform at these amazing (but unrealistic) levels of fight performance.

Kung-fu, in comparison, is more focused on self-expression. As a result, much of the filming style fixates on the individual fighter rather than on the group, bringing the focus on self achievement to the forefront. These characters often demonstrate the same dedication to their training, but kung-fu fighters are less tied to the superhuman elements of mastering martial arts. Instead of being tied to any strict choreography, it is a style of no style. There are rules, but the focus is all about the individual, and not his fighting style, since that can be changed. The essence of a person, though, does not change, and that is emphasized in how he is filmed.

Through making this media project I’ve come to understand that the lines between these two styles of martial arts films are not so clearly divided. In Bruce Lee’s fight with Chuck Norris in the film The Way of the Dragon/ Return of the Dragon 2 (1972) the Kung-Fu is portrayed more fluently than that of the other kung-fu fight scenes and seemed to focus on the two fighters rather than the individual. However, even when Kung-fu is portrayed through a one on one battle in which the style of fight manages to become more fluent, the focus of each beats manages to frame itself around a single fighter continuing to provide overall focus onto the aspects of individuality and self discipline within the fighter.