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Remade in HollywoodThe Global Chinese Presence in Transnational Cinemas$
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Kenneth Chan

Print publication date: 2009

Print ISBN-13: 9789622090552

Published to Hong Kong Scholarship Online: September 2011

DOI: 10.5790/hongkong/9789622090552.001.0001

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Hollywood’s Sino-Chic: Kung Fu Parody, Mimicry, and Play in Cross-Cultural Citationality

Hollywood’s Sino-Chic: Kung Fu Parody, Mimicry, and Play in Cross-Cultural Citationality

Chapter:
(p.129) 6 Hollywood’s Sino-Chic: Kung Fu Parody, Mimicry, and Play in Cross-Cultural Citationality
Source:
Remade in Hollywood
Author(s):

Kenneth Chan

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789622090552.003.0006

This chapter discusses the emergence of Kung fu Sino-chic through Hollywood's appropriation of Chinese action cinema. It first looks at how Jackie Chan works the global/local conjuncture by balancing the cinematic Americanization of his work, especially through the themes of cultural adaptation, appropriation, and acceptance of Asian migrants in the US, while simultaneously building his cosmopolitan appeal to a wide global audience, all through the processes of “mimicry as failure” in The Tuxedo (2002), Shanghai Noon (2000), and Shanghai Knights (2003). It then examines cross-cultural citationality in Quentin Tarantino's Kill Bill Vol. 1 and Kill Bill Vol. 2, suggesting that films such as these incorporate and synthesize multiple revenge film traditions from various national and alternative cinemas. It also describes how Tarantino reinvents exploitation aesthetics and represents them as Hollywood blockbusters.

Keywords:   Kung fu Sino-chic, Chinese action cinema, Jackie Chan, The Tuxedo, Shanghai Noon, Shanghai Knights, Quentin Tarantino, Kill Bill, Hollywood blockbusters

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