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This research outlines the Hong Kong film industry with examination of key actors, directors, films, and production companies within the martial arts genre of Hong Kong Action Cinema. Hong Kong Film Award winners and nominees, core films within genres, and core reference works both general and theoretical from experts in the field of Hong Kong martial arts film research have been highlighted. Web sites are suggested that provide reviews of Hong Kong martial arts films, biographical information on a variety of actors and actresses as well as comprehensive bibliographic information on select films. Also included are commercial Web sites that provide Hong Kong martial arts films.

The majority of Hong Kong filmmakers have pursued co-production with China filmmakers for having the Mainland market at the expense of local styles and sensitivities. To many critics, the two-part series of Ip Man and Ip Man II provide a paradigmatic case of film co-production that sell the tricks of Chinese kung fu, regurgitating the overblown Chinese nationalism against Japanese and kwai-lo. The purpose of this study is to rectify such observation of the Ip Man series.

The authors read the series deconstructively as a postcolonial text in which Hong Kong identity is inscribed in the negotiated space in between different versions of Chinese nationalism.

The analysis points to the varying subversive features in the series from which Hong Kong’s colonial experiences are tacitly displayed, endorsed and rewritten into the Chinese nationalistic discourse whose dominance is questioned, if not debased.

This paper advances new research insights into the postcolonial reinvention of kung fu film and, by implication, the Hong Kong cinema in general.

Despite being an authentic carrier of various cultural practices, the human body is often underutilised to access the knowledge of human body. Digital inventions today have created new avenues to open up cultural data resources, yet mainly as apparatuses for well-annotated and object-based collections. Hence, there is a pressing need for empowering the representation of intangible expressions, particularly embodied knowledge within its cultural context. To address this issue, the authors propose to inspect the potential of machine learning methods to enhance archival knowledge interaction with intangible cultural heritage (ICH) materials.

This research adopts a novel approach by combining movement computing with knowledge-specific modelling to support retrieving through embodied cues, which is applied to a multimodal archive documenting the cultural heritage (CH) of Southern Chinese martial arts.

Through experimenting with a retrieval engine implemented using the Hong Kong Martial Arts Living Archive (HKMALA) datasets, this work validated the effectiveness of the developed approach in multimodal content retrieval and highlighted the potential for the multimodal's application in facilitating archival exploration and knowledge discoverability.

This work takes a knowledge-specific approach to invent an intelligent encoding approach through a deep-learning workflow. This article underlines that the convergence of algorithmic reckoning and content-centred design holds promise for transforming the paradigm of archival interaction, thereby augmenting knowledge transmission via more accessible CH materials.

This paper proposes the use of martial arts as a means to combat aggressiveness and, at the same time, to provide a concrete and preventive answer to the problem of violence against women.

The paper suggests the teaching of martial arts in school for both sexes, with a double positive effect: the reduction of the tendency to violence for boys and an increase in the defensive potential for girls. In both cases, looking to the long term, these synergistic effects could contribute to a reduction in violence against women.

The paper describes the Italian experience in teaching karate and judo at school. The Italian federation of judo, karate, fight and martial arts (FIJLKAM) was one of the first sports federations to have obtained the approval of a project for teaching its disciplines in schools. Thus, a lot of clubs of martial arts have been entering primary and secondary schools and they are teaching martial arts to children between 5 and 14 years old. During the school year 2008/2009 there were: 400 sports clubs implementing the project; 500 schools involved; 60.000 students participating.

In the paper two important points are proposed in order to achieve the goal: the obligatory inclusion of martial arts in school education programs by the government; and a scientific monitoring of the effects of these programs on the improvement of pupils' school performances and on the reduction of violence among boys.

In many cases some parents and school administrators still think that including martial arts in school programs may lead to incidents and instigating violence. But, the Italian experience shows that after the implementation of right projects in the schools, both parents and school administrators radically change their opinions on martial arts. Most cases have shown that after the first year just the parents who were initially dubious about the project ask the school for the reactivation of similar projects for the following years.

The paper identified a long‐term strategy to combat the problem of violence against women.

The purpose of this paper is to examine how the emergent 3D interactive media technologies are used as a viable tool for enhancing visitors’ overall experiences at an exhibition entitled, 300 Years of Hakka Kungfu – Digital Vision of Its Legacy and Future (Hakka Kungfu Exhibition) – presented and co-organized by the Intangible Cultural Heritage Office of Hong Kong, International Guoshu Association and the School of Creative Media, City University of Hong Kong.

A questionnaire survey in both online and paper-based formats was used for identifying visitors’ experiences in the interactions with the multimedia technologies. For this research study, a questionnaire, consisting of 26 items, was set out to measure the visitors’ experiences at the Exhibition. Since the Exhibition was about presenting a centuries-old Chinese cultural heritage, Hakka Kungfu via the use multimedia technologies, in the context of establishing a dialogue between the past and present, the researchers included questionnaire items that were devoted to enquire about the level of understanding, knowledge and enjoyment, and visitors’ new knowledge about Hong Kong history and culture was successfully disseminated to the respondents at the end of the questionnaire.

A total of 209 completed questionnaires were collected at this Hakka Kungfu Exhibition. The findings reveal that the exhibits did attract people at all ages. This Exhibition gave the visitors a sense of interest and wonder in the object and information presented in the Exhibition. Findings of this study also reveal that this Exhibition has successfully attracted a large number of female visitors, as well as visitors who have never taken any martial arts training. In addition, visitors’ Exhibition experience was found to be memorable, as well as enjoyable. Furthermore, visitors’ experience within the Exhibition suggested that it was entertaining, as well as educational. By creating a long-lasting impact on the minds of these Exhibition visitors about the connections between and relevance of traditional Chinese Kungfu, their collective cultural identity, as well as the contemporary society we live in. The Exhibition exemplified the successful integration of the presentation of Kungfu as a form of cultural heritage with engagement-creating technology, in which technology is unobtrusive but effective.

Although it is already a global trend for the museums to integrate multimedia technologies into their exhibitions, research on the situation and feedback of multimedia technology used in the museum exhibitions in Hong Kong is scarce as well as scattered. Findings of this study could help identify various factors involved in audience participation, thereby exploring the possibility of building a contact point/space for traditional Chinese Kungfu as an intangible cultural heritage, via the integration of the latest media technologies. In particular, the development of multimedia technologies has become increasingly important to museums, and museum professionals have been exploring how digital and communication technologies can be developed to offer visitors a more interactive, personalized museum experience. In general, despite the growing interest in deploying digital technology as interpretation devices in museums and galleries, there are relatively few studies that examine how visitors, both alone and with others, use new technologies when exploring the museum contents.

Although the martial arts industry is rapidly evolving into a mature and highly competitive marketplace, only a few studies have been conducted to understand why people participate in martial arts. The purpose of this study is to examine motivation factors that influence an individual's participation in martial arts to provide leaders of the industry with meaningful managerial implications. The researchers collected data from the 2004 Battle of Columbus Martial Arts World Games IV, one of the most popular martial arts events in the US. The results of a series of MANOVA tests revealed that these martial arts participants (N = 307) are highly motivated by growth-related motivation (e.g. value development and actualisation). In addition, the findings indicate that motivation of martial arts practitioners varies across types of martial arts disciplines, competition orientation and past experiences. Given these results, implications for future research and practice are discussed

The purpose of this paper is to investigate the expectations and evaluations of services provided by members of an ethnic minority using the lens of ethnic stereotypes. The authors also examine how ethnic service providers (ESPs) are evaluated by customers from the majority group vs the same ethnic group as the provider.

In Study 1, the authors measure the stereotypes about skills, abilities, and typical professions associated with different ethnic groups (i.e. Chinese, South Asians and white). The authors then measure the effect of these stereotypes on the performance expectations from ESPs in different professional services. In Study 2, the authors manipulate the service domain (stereotypical vs counter-stereotypical) and the level of service performance (good: above average performance vs mediocre: below average) of a Chinese ESP, and subsequently measure the evaluation of the ESP by the same ethnic group (Chinese) vs majority group (white) participants.

Performance expectations from ESPs closely match the stereotypes associated with the ethnic group. But the performance of an ESP (especially mediocre-level service) is evaluated differently by the same ethnic group vs majority group customers, depending upon the domain of service. A Chinese ESP providing mediocre service in a stereotypical domain (martial arts instructor) is evaluated more critically by same ethnic group (Chinese) participants as compared to white participants. In contrast, a Chinese ESP providing mediocre service in a counter-stereotypical domain (fitness instructor) is evaluated more favourably by same ethnic group (Chinese) participants as compared to white participants. There is no such difference when performance is good.

It is a common practice to employ ESPs to serve same ethnic group customers. While this strategy can be effective in a counter-stereotypical domain even if the ESP provides mediocre service, the findings suggest that this strategy can backfire when the performance is mediocre in a stereotypical service domain.

The results demonstrate the need for emphasizing outcome (vis-à-vis interaction) quality where ESPs are employed to serve same ethnic group customers in a stereotypical service setting. However, when an ESP is offering a counter-stereotypical service, the emphasis needs to be more on the interpersonal processes (vis-à-vis outcome). Firms can gain by taking this into account in their hiring and training practices.

Prior research has primarily used cultural distance to examine inter-cultural service encounters. The authors show that ethnic stereotypes pertaining to the skills and abilities of an ESP can affect evaluations beyond the role of cultural distance alone.

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.

With its worldwide fame for making action films, Hong Kong cinema has been defined as masculine. Action films, including the costumed martial arts films and the modern gangster films, have been a major genre in Hong Kong cinema from the 1960s on. Despite the dominant masculinity, women still play significant roles in some of these films. In fact, fighting women leave footprints in the history of Hong Kong cinema, which precede their counterparts in the West and even provide models for Hollywood after 2000.

This chapter focuses on the female characters portrayed by the acclaimed Hong Kong director Wong Kar-wai, whose works have an ambiguous connection to mainstream genres. He modifies Hong Kong action films and creates unconventional female characters such as the drug dealer in Chungking Express (1994), the killer dispatcher in Fallen Angels (1995), the swordswoman in Ashes of Time (1994), and the kung fu master in The Grandmaster (2013). Wong's films have been mush discussed in academia, but the gender images therein are quite ignored. With high intertextuality, these characters are used to question mainstream action films and redefine women's roles in male's cinematic space. In addition, via the writing of these women, Wong constructs an open and ambivalent post-colonial Hong Kong identity. This paper contextualises the figures of sword-wielding and gun-shooting women and examines how Wong Kar-wai deploys these images to articulate the cultural identity of a post-colonial city.