Abstract
This article considers an intriguing case of transnational cinematic geography, cultural translations,and productive appropriations in Hark's martial arts representations and (dis) enchanting "special effects" spectacle. No doubt, we can connect modern martial arts film with the historical writings on assassins in Sima Qian's The Historical Records. As well as a broad range of martial arts novels published in Hong Kong, Taiwan, and Mainland China in the 20th Century. This article also touches upon a great range of topics against the national and transnational backgrounds.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
