Introduction
Martial arts remain common in different parts of the world. Professionals and cultural groups promote them as traditions and codified practices of combat aimed at delivering various goals, such as self-defense, law enforcement, and military operations. Within the past century, the Chinese have taken the system seriously in an effort to pursue nationalism and redefine the true image of their respective society. The Chinese have mastered the uniqueness of their martial arts, thereby relying on them as one of the best and most powerful tools for promoting a sense of pride and nationalism. Through the notion of nationalism, most of the actors and producers have found new ways of portraying Kung Fu and entertaining the global community.
Martial Arts Cinema
Scholars and analysts use the world “cinema” to refer to performed action and displayed form entertainment purposes. Modern technologists have triggered a new development whereby customers can purchase films that present unique lessons, ideas, and concepts. The film industry has transformed the nature and consumerism of cinema. Martial arts films have become common in different parts of Asia and across the globe (Cheung and Law 162). Such works are usually marketed globally whereby they entertain millions of people. These works of art belong to the action subgenre and display entertainment scenes whereby two or more characters engage in fierce or physical combat. In China, martial arts films utilize a minimalist approach in accordance with the society’s cultural values and expectations.
Lovers of Asian Kung Fu films can select the best productions depending on their interests and expectations. For instance, different Chinese actors and performers have entertained many people across the globe for decades (Zhang 6). Some of the leading ones include Jackie Chan and Bruce Lee. For instance, the film Karate Kid (2010) by Jackie Chan was an immediate sensation since it was able to entertain and encourage more people to learn more about the social and cultural attributes defining the East and the West. Bruce Lee’s films still remain inspirational and entertaining since they display different attributes of the Chinese martial arts, such as the Fist of Fury.
Martial Arts Cinema and Nationalism
Chinese martial art, usually known as Kung Fu, has become a common form of art that many people associate with the country. From the 1930s, the Chinese were keen to consider a new line of film production that resonated with the demands and expectations of many local citizens. However, the end of the Second World War presented new opportunities for exporting cultural ideas through the emerging wave of globalization. The invention of the television, aircrafts, and mailing services made the world a smaller community (Zhang 8). Individuals could follow the traditions practiced elsewhere and rely on them to reexamine their ones. These forces would eventually have significant implications for the global film industry.
Before the 1950s, China had suffered several defeats and losses at the international arena. Imperial powers possessed advanced military weapons and systems that outmaneuvered their own. As a unique form of compensation, the Chinese began to take an inward approach that fostered the people’s cultural and economic attributes. Without anything else to focus on, the Chinese decided to rely on martial arts and identify new ways to export them (Cheung and Law 169). Through such works of art, the Chinese was able to construct a unique form of identity.
The government chose to present the right opportunities and support systems to the people. Such attributes made it possible for the citizens to take Kung Fu seriously than ever before. This approach resulted in a scenario whereby the people began to view the martial arts practice as a symbol of strength, honor, and indigenous virtue (Wen and White 5473). The relevant leaders were keen to offer the necessary support, empower some of the local artists, and provide resources to institutions. The promotion of martial arts would also resonate with some of the philosophies and religious thoughts that were associated with the Chinese, including Taoism and Confucianism.
Throughout the second half of the 20th century, the leaders of the country promoted a unique strain of nationalism. Specifically, the country focused on the best ways to become defensive and discourage foreigners from meddling with internal affairs. This approach or practice made it easier for the Chinese locals to consider Kung Fu or Wushu as the most appropriate way for promoting nationalism. Consequently, most of the professionals in Chinese films began to embrace the idea and portray it to the world (Wen and White 5474). Some good examples of movies that captured attention of the global society would include Bruce Lee’s Fist of Fury, Enter the Dragon, and The Big Boss. In most of these masterpieces, the producers and directors were able to display the political and cultural attributes that defined the Chinese society. Members of the global society would soon begin to appreciate such works of art and identify them as unique products from China.
In most of the films portraying Chinese martial arts, viewers are usually able to learn more about the cultural attributes, practices, and ideologies that make them unique. They are also able to realize that the Chinese are usually strong, obedient, and capable of engaging in self-defense. Individuals can also rely on most of these films to learn more about some of the unique institutions, religious beliefs and practices, and expectations that are unique to the Chinese (Zhang 9). For example, most of the films by Jackie Chan succeed in exposing how individuals from the same family relate and how they can remain united to achieve their goals. From these attributes, viewers will find meaning in the true nature of the Chinese society and the major factors defining it.
Within the last four decades, the global society has enjoyed the entertainment and message that is available in most of the Chinese martial arts films. These works still remain relevant and try to paint unique images about the importance of being a Chinese. A sense of pride emerges that drives the notion of nationalism to the next level. These aspects show conclusively that Chinese Kung Fu films have succeeded in displaying the true image of a Chinese citizen. Consequently, the works have continued to exhibit the true values, moral attributes, and practices that are uniquely Chinese (Wen and White 5476). At the same time, the films have showed how the force of nationalism continues to empower, guide, and encourage more people in this country to continue pushing martial arts to the next level.
While the main focus of this paper has been on Chinese martial arts and nationalism, it is also evident that some of the movie producers and actors have succeeded in exposing the role of such works in promoting trans-nationalism. For instance, Jackie Chan’s Karate Kid (2010) is an inspirational film that shows how the world has become integrated that ever before. Featuring a young boy from America named Daniel LaRusso, this film shows how individuals can live in different regions across the globe and embrace foreign cultural practices and ideas. Mr. Miyagi finds meaning in working for the foreign family and considers the most appropriate initiatives to protect LaRusso.
In the same movies, the viewer can observe that the Chinese have mastered the best ways to strike a balance between the need to retain their cultural practices while at the same time focusing on emerging aspects of the modern world. For instance, they have considered the best ways to capitalize on mise-en-scene, apply the force of globalization, and consider better ways to entertain (Cheung and Law 169). This portrayal of modernity has, therefore, been achieved without compromising on the cultural aspects, societal arrangements, and practices that define Chinese nationalism.
Conclusion
The above discussion has revealed that a unique relationship exists between Chinese martial arts and the concept of nationalism. Having mastered the uniqueness of their martial arts, these individuals have considered new ways to rely on the movie industry to promote their cultural and social values. Consequently, such works of art have remained powerful tools for promoting a sense of pride and nationalism in China. Similarly, the notion of nationalism has made it easier for Chinese producers to continue portraying Kung Fu in different ways while at the same time finding new ways of entertaining the global community.
Works Cited
Cheung, Siu Keung, and Wing S. Law. “The Colony Writes Back: Nationalism and Collaborative Coloniality in the IP Man Series.” Social Transformations in Chinese Societies, vol. 13, no. 2, 2017, pp. 159-172.
Wen, Xiaojing, and Paul White. “The Role of Landscape Art in Cultural and National Identity: Chinese and European Comparisons.” Sustainability, vol. 12, no. 13, 2020, pp. 5472-5490.
Zhang, Junchen. “A Cultural Discourse Analysis to Chinese Martial Arts Movie in the Context of Glocalization: Taking Crouching Tiger, Hidden Dragon and Hero as Cases.” Advances in Language and Literary Studies, vol. 10, no. 3, 2019, pp. 1-12.