Origion of Hong Kong Genre... - 4 -
Despite the comical antics and skillfully choreographed stunts, the message of these comedies remained firmly within the canon
of wuxia pian. Just as the 1721 novel Persian Letters by Montesquieu, offered the means to criticize the existing government of
the time through satire, the new forms of wuxia pian comedy made it possible for the writers and directors to showcase their
views against the occupation of Hong Kong and British colonization (Teo 124). Through the incorporation of comedy, directors
and writers had more leeway to covertly add social commentary regarding the institutional racism that was a direct result of
British colonization. With the subterfuge of satire within a historical context, wuxia pian directors demonstrated their ability to
express their outrage, aggression, and anger toward the effects of urban industrialization as well as the British domination of
Hong Kong (Yau 127). Despite the comedy aspects, the protagonist always held the hero qualities that were ascribed in the
original wuxia mythology.
While the first generation of movies remained true to the original canon of a knight errant who wandered the countryside, as later
movies were released, the quality of the protagonist slowly shifted to incorporate a darker, more troubled, self-destructive psyche
(Yau 64). In following with the Confucian doctrine of, ?With great power comes great responsibility,? the hero finds themselves
filled with angst over past incidents they perceive to be responsible for. Either out of accident, or from intentional misuse of
their power, their ch?i, the leading character finds themselves embroiled within their own guilt as they attempt to make right the
mistakes of their past (65). Always in the end, whatever sin is perceived is resolved. While some wuxia pian allowed their
characters to learn from the past mistakes and continue to journey the lands, other films could only resolve the issue by utilizing
the Buddhist philosophy of self-sacrifice for the greater good wherein the hero dies while correcting the mistakes of their past.
Despite how the directors chose to write their characters, each movie held the elements of wuxia pian. While some remained
firmly etched within ancient time frames, others brought the canon into the modern era. Through it all the writers and directors,
in their attempt to preserve a part of their cultural heritage for their children, found a wide spreading audience outside of the
Hong Kong boarders and especially in the American audience.
According to David Dresser, the author of the book Hong Kong: History, Arts, Identity, the first American-produced movie to
follow in the wuxia pian tenent was the 1972 movie titled Billy Jack (30). Independently produced and starring Tom Laughlin,
the movie chronicles a protagonist who, through his journeys, happens upon a Native American reservation which is being
threatened by the nearby all white community. Although the movie did incorporate a few of the earmarked characteristics of
wuxia pian, the major distinction which caused it to fall outside of the boundaries of wuxia mythology was the lack of
supernatural qualities. The martial arts scenes held no special effects nor did it showcase the hero figure as the superhuman hero
who had mastered their ch?i. Therefore, it is my contention that although the movie was the first to be completely produced and
entirely cast by an American company, it did not fall within the wuxia pian format. However, what the movie Billy Jack can be
credited for was the opening of doors for future martial arts movies in America entirely produced by an American company (31).
The movie Billy Jack managed to make a connection with the younger audience whose distinct leanings were toward the
counterculture and rebellion against authority. The clearly visible anti-Vietnam war message, combined with Native American
rights, found an eager audience who not only related to the theme, but embraced it as part of their own social morés. Owing to
this audience appeal and the relative box office success at that time, it was the first martial arts movie that was completely filmed
by an American company to be picked up by a major studio, Warner Brothers (Dresser 31). Through this financial backing the
movie was widely distributed to an even larger audience. Despite its lack of being wuxia pian, it paved the way for the true
wuxia pian formatted show, entirely produced by an American company, to enter into the American culture.
The first evidence of true wuxia pian entered into the American pop culture on September 4th 1995 in a show created by the
American business team of Sam Rami and Robert Tapert of Pacific Renaissance Pictures. Although it was financially backed by
Americans, the show itself was filmed in New Zealand. Xena: Warrior Princess, produced by Michigan State University alumnus
Robert Tapert, introduced the American audience to a slick, fast-paced, one hour show that hybridized an eclectic mix of their
own brand of Greek mythology combined with choreographed fight scenes reminiscent of Hong Kong wuxia pian films. What
made this show unique was the intricate story lines that mixed high drama with comical satire. Through the entire show, Xena:
Warrior Princess encapsulated the mythological wuxia canon from the Mencuis? era.
According to Robert Weisbrot?s book, The Official Guide to the Xenaverse, a great deal of the credit for the creation of the
myths in the episodes in Xena: Warrior Princess goes to a team of excellent writers, headed by R.J Stewart, and the entire
production team, from Rob Tapert, to co-producer Liz Friedman as well as the actors, directors, casting director, costume and
set designers of the show. While the producer, actors, cast and crew involved in the show are always quick to mirror this
sentiment, in my opinion, the vision for the show remains with the producer, Robert Tapert. Despite the fact that he is not a
writer by trade, Robert Tapert always worked closely with the staff as the episodes were being created (Weisbrot 33). Either on
a conscious level, or unconscious, Robert Tapert produced a show which followed the ancient wuxia literature, while also
incorporating the new additions of satire from the Hong Kong wuxia pian directors.
In interviews Robert Tapert is forthcoming to state that in filming Xena: Warrior Princess, he was influenced by the films of
Hong Kong (Grimes). He culled many of his visual ideas for Xena: Warrior Princess from films like The Bride With White Hair,
starring Brigitte Lin and directed by Ronny Yu (Whoosh); and Once Upon a Time in China 2, starring Jet Li and directed by
legendary filmmaker, Tsui Hark (Weisbrot 190). Additionally, Robert Tapert states that the main hero character of Xena was
derived from both Hong Kong and Clint Eastwood movies (Good). Both in the strong female heroes, as well as villains combined
with the cinematography and carefully choreographed stunts, Xena: Warrior Princess harkens to his fondness of the Hong Kong
genre (Summers). Actor/director, Reneé O?Connor in an interview stated;
?He [Robert Tapert] sent me a pile of excerpts from fights in Hong Kong movies to watch to try and
and find something that would be spectacular enough to hold an entire act. I spent weeks and weeks
rediscovering the Hong Kong movie industry and saw how beautifully they're shot?. (Delaney 5).
This quote shows how, through his leadership, Robert Tapert facilitated the show in the direction which paid tribute to the Hong
Kong films he enjoyed watching.
From the very first episode of Xena: Warrior Princess, ?Sins of the Past,? written by Robert Tapert, the ancient style of wuxia
mythology is laid out for the viewers. In the style of the latter wuxia writings, Xena is filled with angst from the criminal actions
of her past. As a way of finding redemption, she battles against an evil warlord to save a village. This scenario follows the
precepts set down by Buddha of self-sacrifice combined with the teachings of gallantry, valiant acts and valor which were set
down by Confucius. In addition to these traits that fall within the wuxia canon, it is in this first episode that Xena accepts the
character Gabrielle, albeit reluctantly, as a traveling companion. Through this mentor-student dynamic the philosophy of student
learning from master reinforces Mencuis? early teachings.
Over the six years that Xena: Warrior Princess aired, there were numerous episodes that reflected the wuxia mythology.
Whether Xena is attempting to teach a future Amazon queen how to properly conduct herself as
Despite the comical antics and skillfully choreographed stunts, the message of these comedies remained firmly within the canon
of wuxia pian. Just as the 1721 novel Persian Letters by Montesquieu, offered the means to criticize the existing government of
the time through satire, the new forms of wuxia pian comedy made it possible for the writers and directors to showcase their
views against the occupation of Hong Kong and British colonization (Teo 124). Through the incorporation of comedy, directors
and writers had more leeway to covertly add social commentary regarding the institutional racism that was a direct result of
British colonization. With the subterfuge of satire within a historical context, wuxia pian directors demonstrated their ability to
express their outrage, aggression, and anger toward the effects of urban industrialization as well as the British domination of
Hong Kong (Yau 127). Despite the comedy aspects, the protagonist always held the hero qualities that were ascribed in the
original wuxia mythology.
While the first generation of movies remained true to the original canon of a knight errant who wandered the countryside, as later
movies were released, the quality of the protagonist slowly shifted to incorporate a darker, more troubled, self-destructive psyche
(Yau 64). In following with the Confucian doctrine of, ?With great power comes great responsibility,? the hero finds themselves
filled with angst over past incidents they perceive to be responsible for. Either out of accident, or from intentional misuse of
their power, their ch?i, the leading character finds themselves embroiled within their own guilt as they attempt to make right the
mistakes of their past (65). Always in the end, whatever sin is perceived is resolved. While some wuxia pian allowed their
characters to learn from the past mistakes and continue to journey the lands, other films could only resolve the issue by utilizing
the Buddhist philosophy of self-sacrifice for the greater good wherein the hero dies while correcting the mistakes of their past.
Despite how the directors chose to write their characters, each movie held the elements of wuxia pian. While some remained
firmly etched within ancient time frames, others brought the canon into the modern era. Through it all the writers and directors,
in their attempt to preserve a part of their cultural heritage for their children, found a wide spreading audience outside of the
Hong Kong boarders and especially in the American audience.
According to David Dresser, the author of the book Hong Kong: History, Arts, Identity, the first American-produced movie to
follow in the wuxia pian tenent was the 1972 movie titled Billy Jack (30). Independently produced and starring Tom Laughlin,
the movie chronicles a protagonist who, through his journeys, happens upon a Native American reservation which is being
threatened by the nearby all white community. Although the movie did incorporate a few of the earmarked characteristics of
wuxia pian, the major distinction which caused it to fall outside of the boundaries of wuxia mythology was the lack of
supernatural qualities. The martial arts scenes held no special effects nor did it showcase the hero figure as the superhuman hero
who had mastered their ch?i. Therefore, it is my contention that although the movie was the first to be completely produced and
entirely cast by an American company, it did not fall within the wuxia pian format. However, what the movie Billy Jack can be
credited for was the opening of doors for future martial arts movies in America entirely produced by an American company (31).
The movie Billy Jack managed to make a connection with the younger audience whose distinct leanings were toward the
counterculture and rebellion against authority. The clearly visible anti-Vietnam war message, combined with Native American
rights, found an eager audience who not only related to the theme, but embraced it as part of their own social morés. Owing to
this audience appeal and the relative box office success at that time, it was the first martial arts movie that was completely filmed
by an American company to be picked up by a major studio, Warner Brothers (Dresser 31). Through this financial backing the
movie was widely distributed to an even larger audience. Despite its lack of being wuxia pian, it paved the way for the true
wuxia pian formatted show, entirely produced by an American company, to enter into the American culture.
The first evidence of true wuxia pian entered into the American pop culture on September 4th 1995 in a show created by the
American business team of Sam Rami and Robert Tapert of Pacific Renaissance Pictures. Although it was financially backed by
Americans, the show itself was filmed in New Zealand. Xena: Warrior Princess, produced by Michigan State University alumnus
Robert Tapert, introduced the American audience to a slick, fast-paced, one hour show that hybridized an eclectic mix of their
own brand of Greek mythology combined with choreographed fight scenes reminiscent of Hong Kong wuxia pian films. What
made this show unique was the intricate story lines that mixed high drama with comical satire. Through the entire show, Xena:
Warrior Princess encapsulated the mythological wuxia canon from the Mencuis? era.
According to Robert Weisbrot?s book, The Official Guide to the Xenaverse, a great deal of the credit for the creation of the
myths in the episodes in Xena: Warrior Princess goes to a team of excellent writers, headed by R.J Stewart, and the entire
production team, from Rob Tapert, to co-producer Liz Friedman as well as the actors, directors, casting director, costume and
set designers of the show. While the producer, actors, cast and crew involved in the show are always quick to mirror this
sentiment, in my opinion, the vision for the show remains with the producer, Robert Tapert. Despite the fact that he is not a
writer by trade, Robert Tapert always worked closely with the staff as the episodes were being created (Weisbrot 33). Either on
a conscious level, or unconscious, Robert Tapert produced a show which followed the ancient wuxia literature, while also
incorporating the new additions of satire from the Hong Kong wuxia pian directors.
In interviews Robert Tapert is forthcoming to state that in filming Xena: Warrior Princess, he was influenced by the films of
Hong Kong (Grimes). He culled many of his visual ideas for Xena: Warrior Princess from films like The Bride With White Hair,
starring Brigitte Lin and directed by Ronny Yu (Whoosh); and Once Upon a Time in China 2, starring Jet Li and directed by
legendary filmmaker, Tsui Hark (Weisbrot 190). Additionally, Robert Tapert states that the main hero character of Xena was
derived from both Hong Kong and Clint Eastwood movies (Good). Both in the strong female heroes, as well as villains combined
with the cinematography and carefully choreographed stunts, Xena: Warrior Princess harkens to his fondness of the Hong Kong
genre (Summers). Actor/director, Reneé O?Connor in an interview stated;
?He [Robert Tapert] sent me a pile of excerpts from fights in Hong Kong movies to watch to try and
and find something that would be spectacular enough to hold an entire act. I spent weeks and weeks
rediscovering the Hong Kong movie industry and saw how beautifully they're shot?. (Delaney 5).
This quote shows how, through his leadership, Robert Tapert facilitated the show in the direction which paid tribute to the Hong
Kong films he enjoyed watching.
From the very first episode of Xena: Warrior Princess, ?Sins of the Past,? written by Robert Tapert, the ancient style of wuxia
mythology is laid out for the viewers. In the style of the latter wuxia writings, Xena is filled with angst from the criminal actions
of her past. As a way of finding redemption, she battles against an evil warlord to save a village. This scenario follows the
precepts set down by Buddha of self-sacrifice combined with the teachings of gallantry, valiant acts and valor which were set
down by Confucius. In addition to these traits that fall within the wuxia canon, it is in this first episode that Xena accepts the
character Gabrielle, albeit reluctantly, as a traveling companion. Through this mentor-student dynamic the philosophy of student
learning from master reinforces Mencuis? early teachings.
Over the six years that Xena: Warrior Princess aired, there were numerous episodes that reflected the wuxia mythology.
Whether Xena is attempting to teach a future Amazon queen how to properly conduct herself as
