TAILIEUCHUNG - “Crouching Tiger, Hidden Dragon : A Transnational Reading”

I tiptoed through the sitting room, headed for my room and my soft and wondrous bed. I was nearly to my door when someone hissed at me from the sofa, making me jump so high I nearly fell over. I whirled and found my sister sitting there. Cora was two years younger than me, and, unlike me, she was brilliant at school, a right square. She brought home test papers covered in checkmarks and smiley-faces, and her teachers often asked her to work with thick students to help them get their grades up. I had shown her how to use my edit-suite when she was only. | September 2002 Crouching Tiger Hidden Dragon A Transnational Reading 1 Introduction Ang Lee s martial arts melodrama Crouching Tiger Hidden Dragon henceforth CTHD was a worldwide cinematic phenomenon in 2000-2001. Made with a relatively modest budget of 15 million it earned over 200 million worldwide outperforming all other Chinese-language films in Asia as an aggregate territory and propelling the jaded critics at the Cannes film festival into a standing ovation. It achieved extraordinary success in the United States in a market notoriously hostile to subtitled fare it earned 128 million in the theaters plus another 113 million in video and DVD rentals and sales. CTHD made the rare transition out of the art-houses and into the multiplexes and in doing so it became the most commercially successful foreign-language film in US history and the first Chinese-language film to find a mass American audience. Critically acclaimed as well as popular it broke records at the Academy Awards where it was the first foreign-language film to be nominated for ten awards and the first Asian language film to be nominated for best picture. The press heralded it as a breakthrough film that 1 might succeed in prying open the lucrative American market to the products of Asian film Part of the film s significance apart from its critical and financial success derives from the way it displays the simultaneously localizing and globalizing tendencies of mass culture in our contemporary moment. In its visual and narrative content the film comes across as resolutely Chinese local. Based on a pre-World War II Chinese novel by Wang Du Lu that has never been translated into English and set in the jiang hu underworld of bandits and heroes during the Qing dynasty 1644 -1911 it tells the story of two renowned martial artists played by Chow Yun-fat and Michelle Yeoh who must retrieve a sword stolen by a rebellious young aristocratic woman played by Zhang Zhiyi . Thematically the film .

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