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This chapter examines how the breakthrough of Zhang Ziyi's depiction of a female kung fu master in The Grandmaster (2013) transforms the figure of the heroine in Chinese action films. Zhang is well known for her acting in action films conducted by renowned directors, such as Ang Lee, Zhang Yimou and Wong Kar-wai. After winning 12 different Best Actress awards for her portrayal of Gong Ruomei in The Grandmaster, Zhang announced that she would no longer perform in any action films to show her highest respect for the superlative character Gong. Tracing Zhang's transformational portrait of a heroine in The Grandmaster alongside her other action roles, this analysis demonstrates how her performance projects the directors' distinctive gender viewpoints. I argue that Zhang's characterisation of Gong remodels heroine-hood in Chinese action films. Inheriting the typical plot of a daughter's use of martial arts for revenge for her father's death, Gong breaks from conventional Chinese action films that highlight romantic love during a woman's adventure and the decisive final battle scene. Beyond the propensity for sensory stimulation, Gong's characterisation enables Zhang to determine that women can really act in action films – demonstrating their inner power and ability to create multi-layered characters – not merely relying upon physical action. This chapter offers a relational perspective of how women transform the action film genre not merely as gender spectacles but as embodied figures that represent emerging female subjectivity.

The 1980s saw both a return and rise to box office prominence of the once-popular Sword and Sorcery genre. Following on from Arnold Schwarzenegger's performance as Conan the Barbarian (1982), a raft of imitators followed. On the one hand, there were films like Krull (1983) and He-Man and the Masters of the Universe (1983) with their big budgets and excellent casts. On the other were their ‘spaghetti’ variations, such as Conquest (1983), Hercules (1983) and the Ator (1982–1990) series, where poor production values, doleful acting, and even more atrocious dubbing remained more frightening than any monsters the hero encountered.

For the most part, the sword and sorcery genre predominantly focused on the male in the canon. However, using Yvonne Tasker's (1993) work on spectacular and hard bodies in action cinema, this chapter will provide an analysis of how female characters in the sword and sorcery genre are portrayed, using Barbarian Queen (1985) as a case study.

This chapter analyses the pilot episode of the ABC TV series Charlie's Angels (Spelling & Goldberg, 1976–1981) and the latest film of this media franchise, Charlie's Angels (Banks, 2019). The chapter undertakes an analysis of the three main characters in the series pilot and the three starring roles in the film, applying methodologies proposed by the cinematic poetic formalism (Bordwell & Thompson, 2006) and observing specifically the roles and motivations of these six women from a feminist perspective. On the one hand, the TV pilot engages with several of the main premises of the second-wave feminism that was in full swing at the time the series was released. On the other hand, the 2019 film was launched in the contemporary era of post-feminism, reflecting a number of the concerns that shape the post-feminist agenda. However, the main argument of this chapter is that both the series pilot released in 1976 and the 2019 film construct ambivalent feminist narratives. The analysis reveals that the Charlie's Angels franchise fluctuates between characteristics that can be labelled as feminist discourses, but also as replicators of a patriarchal model. Forty-six years later, while a few things have changed for the Angels, we argue that the characters and franchise have not lived up to its potential as a transformative feminist text.

Although there are a number of hybrid tropes and cross-over conventions that relate to contemporary action cinema, broken down to its most rudimentary components, the genre places its cinematic hero in scenes of ritualised violence or conflict, with the intent of showcasing both athletic mastery and aesthetically pleasing physiques for interested and invested audiences. In as much as it is difficult to define the contemporary genre, the role of the action hero is clear in all permutations. Indeed, there is little question or query about who or what makes for a popular and long-standing action star. After all, names such as Stallone, Schwarzenegger and Statham have become inextricably linked to the genre in question. While there is much to consider here in relation to the muscles and power of these hard-bodied heroes in sweaty vests or form fitting t-shirts, there is another iteration of masculinity, a different and more agile physique, a more refined sartorial code, that has quietly overtaken these macho figures as the site of contemporary action, and that figure is Keanu Reeves. With this in mind, this chapter will examine the ways in which popular media reviewers foreground star image, acting, movement, the body and performance in order to position Reeves as an action star removed from the physical excesses of bulkier, slower and less agile men who continue to perform in the genre around him.

The association between motorcycles and sex, and motorcycles and action, is highly gendered and very few action films star women on motorcycles. This chapter examines little-known Australian film, Shame (1988) and the American made-for-television remake Shame (1992) as rare examples of films starring heroic women on motorcycles. The protagonist of both films is a motorbike-riding lawyer (Cadell) who rides into a country town blighted by an endemic rape culture. The film(s) have been largely overlooked in critical discussions about gender and action films. This chapter utilises scholarship about gender and action films, and about the rape revenge genre to explore how Cadell is cast as feminist avenger and agent of change. Rather than being a bombshell or a babe, in the tradition of Ellen Ripley and Sarah Connor, Cadell is a tough action chick who embodies (female) heroism. She, as Sara Ahmed (2017) would describe it, snaps, and that snap prompts viewers to examine misogyny, rape, revenge and shame.

In almost 100 years of Colombian cinema, very few productions have had action-oriented narratives at the core of the film, as this cinema has chiefly developed around mainstream genres of melodrama and popular comedy. Rather than a cinematic end, ‘action’ has worked more as a specific means, mainly through thrillers, for directors to represent, question, and denounce the Colombian armed conflict – a central national issue for over 70 years. Whilst such films have tended to showcase male heroes, some recent productions subvert this tradition, and echo aspects of contemporary action cinema in Hollywood, where female representations problematise the perpetuated male image of the action hero.

This chapter examines contemporary Colombian films that offer hybrid images of female warriors who are (anti)heroic or disruptive, within the conventions of the action genre and within the dominant patriarchal discourse of Colombian narrative cinema, concentrating on Rosario Tijeras (Maillé, 2005) and La Sargento Matacho (González, 2017). Following research on Colombian cinema, context and conflict, this chapter highlights how female characters subsist in the public sphere, taking an active part in illegal armed organisations. It also questions how these representations may promote typologies of female emancipations (victimisers, anti-heroines, hybrid tomboys and war fighters), articulating key notions of emancipation. Ultimately, this chapter reiterates how postmodern representations of the female body subvert classic features of the Hollywood action cinema, by offering inaugural images of tough women within the Colombian/Hispanic popular culture and contexts, by examining particular sequences through Creed's multiple views on the female multi-faceted representations in cinema and Tasker's ample theory on action women and bodies.

Since the 1990s, Charlize Theron has appeared in films from a wide range of genres but has seen significant financial success from starring in action films, such as Mad Max: Fury Road (2015) and Atomic Blonde (2017). However, unlike some female action leads, she has not solely been defined or pigeonholed by these roles but has been able to transition between action roles and more ‘respectable’ dramatic roles, as well as the other conventions of female celebrity, such as being the face of advertising campaigns for perfume brands.

Theron has notably received several physical injuries during filming, such as breaking her teeth practising fight choreography during the production of Atomic Blonde. These injuries have frequently been added as part of the publicity campaign for the films and Theron's star image overall as signs of ‘authenticity’, leading these action films a sense of increased legitimacy. Tasker states that a female action star's ‘[public] formulation is indicative of the uncertainties generated by her image’ (1993, p. 14). Media attention is divided between focusing on Theron's physicality, both in the sense of the traditional Hollywood gaze and in terms of Theron's molding of her marketable image. Theron has managed to succeed as both a mainstream star and an action heroine. This has enabled Theron to transition between genres and franchises such as The Fate of The Furious (2017), and an Oscar-nominated dramatic role in the biopic Bombshell (2019).

This chapter will unpack the public persona of Charlize Theron as an action film star, exploring both the filmic texts and the presentation of Theron's often complicated and contradictory image in the media.

The image of Mel Gibson and Hugh Jackman (as Wolverine) in the Mad Max and X-Men franchises represents traditional heroic action masculinity. This chapter explores the roles of female action heroes in defying patriarchy and subverting action film genre stereotypes in male-dominated franchises. In contrast to past characterisations of Max, Mad Max: Fury Road (2015) provides both a departure to the role of Max as the male saviour seeking vengeance, by focusing on Imperator Furiosa and offering space for a portrayal of femininity characterised by inclusivity and tolerance. In Logan (2017), the decay of Wolverine is central to the narrative. Rather than the portrayal of an immortal hypermasculine hero in the previous X-Men films (with emphasis on men in X-Men), a new female mutant Laura assumes his mantle. In this context, I consider the gender roles and depiction of women in these films, and how they may be read as offering a futuristic vision of utopia in dystopian narrative worlds.

In the distant future, the social and economic systems build by the patriarchy are crumbling, causing an environmental crisis and divisive society, where people who are different (mutants) are hunted down. Mad Max: Fury Road and Logan both offer an alternative depiction of women and girls, providing new perspectives to navigate an uncertain dystopian world through fierce female warriors Furiosa, and mutant girl Laura. Ultimately this chapter demonstrates that survival in the post-apocalyptic and dystopian worlds represented in Mad Max: Fury Road and Logan may be achieved via a subversive feminist solution/utopia to the crisis of masculinity.