Wedding Day Research Articles

Cold War Cosmopolitanism: The Asia Foundation and 1950s Korean Cinema

Abstract South Korean films first became visible on the world stage in the late 1950s when they began to be exhibited and win prizes at international film festivals. Yi Pyŏngil’s The Wedding Day (1956) and Han Hyŏngmo’s Because I Love You (1958) were among Korea’s earliest award-winning films. These two films exemplify a postcolonial and postwar discourse I am calling “Cold War cosmopolitanism.” The cultivation of this cosmopolitan ethos among cultural producers was a major objective for Americans waging the cultural Cold War in Asia, and the Asia Foundation was Washington’s primary instrument for doing so. This article traces the history of the Asia Foundation from its inception in the National Security Council in the late 1940s through its activities in Korea in the 1950s and early 1960s. It pays particular attention to the foundation’s support for Korean participation in the Asian Film Festival. It offers a close textual and historical reading of Yi’s and Han’s films as a means of exploring how Korean cultural producers, acting as Cold War entrepreneurs, took advantage of the Asia Foundation’s resources in ways that furthered their own aesthetic, economic, and political interests.

Public Notice

Public Notice

A Comparison Study of Wedding Between China and Western Countries

Since ancient times, wedding custom, as a national symbol and cultural development, plays a very important role in the ethnic studies. More importantly, it is that people can understand the history of human society better through numerous and brilliant wedding customs and explore the basic law of development of human society. During the development of human history, many wedding customs have experienced various changes, as the basic pattern, “six etiquettes” in China has not changed much and is still essential and core in wedding custom. In western countries, a valid marriage should experience proposal, surnames, choosing the day and holding the wedding. This paper will explore some different aspects of two wedding customs. Because of their different cultural origin, religion, concept and geography, there are many differences existing between China and Western countries: different procedures, different dresses, different activities, different colors and different wedding day ceremonies. Because of the cultural exchange, China and Western countries become more frequent. This paper will also discuss some similarities and absorption of wedding culture between China and Western countries. Through the comparison of these processes and some related stories, we can easily find the distinctions. Generally speaking, western weddings are more flexible. The processes of a wedding are not so complicated as a Chinese wedding. They give us the impression of romanticism, freedom and equity. According to the traditional Chinese style, it seems to be more cockamamie and striped-pants but own deeper cultural connotations.

Curious Objects: Milstein Exhibition Centre, Cambridge University LibraryNovember 3, 2016–March 21, 2017https://exhibitions.lib.cam.ac.uk/curiousobjects/

Curious Objects: Milstein Exhibition Centre, Cambridge University LibraryNovember 3, 2016–March 21, 2017https://exhibitions.lib.cam.ac.uk/curiousobjects/

David's Bridal: Customer Relationship Management in the Digital Age

This case replaces UVA-M-0837. It can be used in a variety of marketing and strategy classes to understand how (1) at a macro level, a shift in consumer and environmental factors can impact firm strategy and (2) at a micro level, an e-mail-based marketing campaign designed to address these changes can impact firm-level performance. The case puts the students in the position of CEO Robert Huth as he is preparing for a board meeting. He had taken David's Bridal from a loss in 1996 to sales of over $1 billion by 2011, but he was concerned about future growth. People were waiting longer and longer to get married and, once they decided to, were spending much less than in the past, so the industry had seen year-over-year declines since 2007. How would David's Bridal establish its brand in the minds of a new generation of brides who shopped, purchased, and decided differently than had brides in past generations? Excerpt UVA-M-0899 Rev. Dec. 21, 2015 David's Bridal: Customer Relationship Management in the Digital Age For those brides hoping to look and feel like a million dollars—but who didn't have a million dollars—CEO Robert Huth wanted them to immediately think of David's Bridal (DB). Since 2000, when he took over the top spot in the privately held company headquartered just outside of Philadelphia, Pennsylvania, Huth had exponentially grown the company nationwide and expanded into Canada and Puerto Rico. That growth meant that many more brides could walk out of DB with gown in hand and avoid the long delay experienced at a typical bridal salon. But most important, he had taken the company from losses in 1996 to sales of $ 665 million and gross profits of roughly $ 100 million in 2007. Sales continued to grow, reaching more than a billion dollars by 2011. Despite that success, Huth was concerned about future growth. People were waiting longer and longer to get married and, once they decided to, were spending much less than in the past. As a result, the industry had seen year-over-year declines since 2007. At the same time, a new generation of brides was coming of age—one far more accustomed to digital media, including online shopping, social networks, blogs, and mobile apps. Bridal parties were dancing their way down the aisles, creating viral wedding videos on YouTube, all the while tweeting on their smartphones. Huth and his CMO were wrestling with how best to connect with this new generation of brides. They were well aware that brides began searching for their gowns months—in some cases, years—before their wedding day and were using these new technologies and tools to help them make their decisions. While the way in which brides made decisions might have changed over time, one thing had not—a wedding was still one of the most important days in many women's lives. Of all the decisions involved in planning a wedding, which gown to wear remained one of the most emotional, because the gown had to match both the bride's vision of her special day and her budget. How could DB build on that connection and establish its brand in the minds of a new generation of brides who shopped, purchased, and decided differently than past generations? The Wedding Industry . . .

Making the Most from Changes in Life

Making the Most from Changes in Life

The Decline of Arranged Marriage? Marital Change and Continuity in India.

This article evaluates whether arranged marriage declined in India from 1970 to 2012. Specifically, the authors examine trends in spouse choice, the length of time spouses knew each other prior to marriage, intercaste marriage, and consanguineous marriage at the national level, as well as by region, urban residence, and religion/caste. During this period, women were increasingly active in choosing their own husbands, spouses meeting on their wedding day decreased, intercaste marriage rose, and consanguineous marriage fell. However, many of these changes were modest in size and substantial majorities of recent marriages still show the hallmarks of arranged marriage. Further, instead of displacing parents, young women increasingly worked with parents to choose husbands collectively. Rather than unilateral movement towards Western marriage practices, as suggested by theories of family change and found in other Asian contexts, these trends point to a hybridization of customary Western and Indian practices.

Transforming 'Female' Programmes

Contemporary Italian digital channels explicitly targeting women (suchas Real Time, Lei, Fox Life, La5, and La7d) represent a privilegedobservatory for some general trends in the international circulation ofcontent and incorporation of foreign formats into national television (TV).In fact, their schedules rely heavily on the genre of factual entertainment,which was first devised and used in international contexts, such as the UKand the US, and only in the second phase was imported into other national TVenvironments. After introducing this scenario and the main issues connectedto the circulation of international content on these channels, the articlewill focus on the BBC docu-reality Don’t Tell the Bride. The show wasextensively circulated (UK and US versions) in the circuit of Italian womenchannels before a national version was produced by the pay-TV brand Lei. Thearticle will reflect on how the national version Non ditelo alla sposa addedfurther shades to the original meaning of the format. While theinternational version only allowed the Italian audience to engage with theprogramme through a romantic and escapist approach, the local adaptationinserted practical advice in the storytelling on how to arrange a low budgetyet traditional wedding day, coupled with the sarcastic and ironic points ofview of the characters involved.

Zhang Huoding’s Performances of Legend of the White Snake and The Jewelry Purse at David H. Koch Theatre at Lincoln Center on September 2 and 3, 2015

PERFORMANCE REVIEW: ZHANG HUODING’S PERFORMANCES OF LEGEND OF THE WHITE SNAKE AND THE JEWELRY PURSE AT DAVID H. KOCH THEATRE AT LINCOLN CENTER ON SEPTEMBER 2 AND 3, 2015 ROSE JANG The Evergreen State College, USA When the curtain dropped at the end of The Jewelry Purse (Suolin nang 鎖麟囊),1 I was one of perhaps two thousand audience members jumping to our feet and madly clapping our hands, as if a prolonged, collective store of emotion had finally burst out from every corner of the majestic David H. Koch Theatre at Lincoln Center. Lights came up and revealed the real world—far, far from that of the play —as we, dressed in our mundanely nice clothes and stuffed among rows of red velvet seats all the way to the third ring, could only slowly shake off this sweet, comforting dream of Peking opera2 (Jingju 京劇) by impulsively mobilizing our limbs, bodies, and vocal chords. Everyone was standing, applauding, and yelling approval; feet were thumping and cameras flashing. Those sitting close to the stage surged toward it and voices yelling “Zhang Huoding! Zhang Huoding!” rang out from everywhere in the theatre. They eventually succeeded in getting her to sing an encore, an aria from The Dream in the Spring Boudoir (Chungui meng 春閨夢). Yes, Zhang Huoding 張火丁 (b. 1971) was the star, and Zhang Huoding was the reason that most of us were here, with many, like myself, attending both nights of performance, simply to see her and hear her. The star treatment she received during her stay in New York City was quite similar to her usual reception in China (she has the strongest and most loyal fan base of any living Jingju performer). 1 This play premiered in 1937 and tells the story of a wealthy girl, Xue Xiangling, and a poor girl, Zhao Shouzhen. On their wedding day, when they meet by chance, Xue takes pity on Zhao and gifts her with the purse of the title of the play. In the second half of the play, when the two women’s fortunes have been reversed by a flood, Xue re-encounters the purse after she is hired as a nursemaid in Zhao’s household to look after Zhao’s son, who is the same age as the son Xue has been separated from. The two women swear sisterhood and Xue is reunited with her mother, son, and husband. This play was based on an old anecdote not in wide circulation. 2 In all the promotional materials for this production, Jingju 京劇 is translated as “Peking Opera” instead of the more recent and “politically correct” form, “Beijing Opera.” The choice of the translated name is significant, as “Peking Opera,” which uses a now antiquated spelling, has a ring of nostalgia to it that recalls, among other things, the successful U. S. tour by Mei Lanfang 梅蘭芳 (1894–1961) in 1930 (despite the fact that by that time China’s capital had been moved to Nanjing and Beijing’s name changed to Beiping). CHINOPERL: Journal of Chinese Oral and Performing Literature 35.1 (July 2016): 75–82© The Permanent Conference on Chinese Oral and Performing Literature, Inc. 2016 DOI 10.1080/01937774.2016.1183327 Although basically absent from the public stage for the past four years as she has concentrated on her family and teaching, her star status has seemed to only increase as her public appearances have decreased.3 Her fans in China have given themselves the endearing title of dengmi 灯迷,4 and many followed her all the way from Beijing to Lincoln Center.5 It was clear that the shouting and cheering during and at the end of the two Lincoln Center performances were initiated and guided by audience members familiar with Peking opera tradition and Ms. Zhang’s unique style of operatic delivery,6 yet the massive ovation at the end of the second performance, described above, did not appear to be in the least forced or insincere, despite the fact that it happened in a theatre located thousands of miles away from Beijing and better known as the home of the New York City Ballet. The majority of both audiences appeared to be of Asian descent, and a significant...

Demographic Opportunity and the Mate Selection Process in India

We merged individual-level data from the 2004-2005 India Human Development Survey with district-level data derived from the 1991 and 2001 Indian population censuses to examine how the numerical supply of men to which married women were exposed during late adolescence is associated with women's agency in the mate selection process and the duration of courtships. Multilevel models that control for an array of both individual and contextual factors showed that exposure to a relative surplus of potential mates is associated with a higher likelihood that women will have little or no say in the selection of their husband and an increased probability that women will meet their husband for the first time on their wedding day. Women's educational attainment, birth cohort, religion, caste, and region of residence also emerged as significant correlates of women's marital agency and courtship duration. The implications of these findings for India's growing sex ratio imbalance are discussed.

Successful Partnerships: A Matter of Experience?

IntroductionPartnerships and Success RatesIn order to survive in the long run, most organizations look for collaboration with other organizations. The types of partnerships may vary from open networks to mergers. In open networks the aim is often at co-innovation projects. In merger situations both organizations become integrated and loose their autonomy to a large extent. In between many other options can be chosen, such as alliances or joint ventures. As a result of changing motives partnerships can evolve over time (Ulrich et al., 2005; Grotenhuis and Kamminga, 2008).Just like in marriage, expectations are often very high, however, success rates prove to be disappointing. In case of mergers and acquisitions, less than 50% of the partnerships are referred to as a success (Lajoux, 1998). Nevertheless we witnessed an increase of the number of mergers and acquisitions, as well as an increasing value of the transactions over the past decades. Unfortunately, mergers and acquisitions often appear to be non-rational transactions.Reasons for success or failure can be divided to the pre-merger phase and the post-merger phase. During the pre-merger phase, financial or legal issues often make that parties do not come together. Sometimes personal issues, related to trust (Boersma, 1999), play a role. During the post-merger phase, most scientists indicate personal, cultural differences as the bottlenecks for a successful relationship (Tihanyi et al., 2005). Differences as such, however, do not necessarily play a huge role. The impact of differences depends on the degree of integration versus autonomy, and on the way the merger is being managed (Grotenhuis, 2001).Concluding, many partnerships are not very successful. Most studies aim at the pre-merger phase where legal and financial issues play a major role to explain reasons for success and failure. This paper provides insights in the post-merger integration phase. The focus is on different factors that influence the learning process in order to prevent similar mistakes and thus increase changes for success.From Courtmaking to Divorce?The metaphor of a marriage is being used on a frequent basis as people prepare everything for the wedding day itself and the ceremony. Parallel, organizations prepare a merger very careful during the due diligence stage. However, the moment the merger agreements have been signed, management often seems to think that business will continue as usual, although a new merger combination needs a lot of management attention to become a success (Haspeslagh and Jemison, 1991).Cartwright and Cooper (1992) identified different stages for M&A that are directly derived from marriage. The different stages are briefly characterized in the figure below.The parallel is evident: it is about people who have to find each other and to work together. Further, similar to mergers, many marriages are not successful either. It is about building trust, managing cultural differences, about managing expectations, and clear communication about the motives and desires for both partners. Success is not a single result or point in time, but it is a process that's needs management attention.The Impact of ExperienceAs in marriages, mergers need to be managed and monitored carefully in order to become a success. Especially during the post-merger phase, management attention is crucial. Most scholars agree about the need for active management when it comes to integrating the different organizations (Bakker and Helmink, 2000). Further, some scholars stress the relevance of making use of insights from the due diligence process for the integration stage (Nolop, 2007). However, hardly any study investigated the way (integration) managers can learn from previous merger experiences. Often, integration managers only deal with one or two mergers during their career. This is a pity as their field experiences are very valuable for following integration processes. …

Confessional, and: Egg Brooding

Confessional, and: Egg Brooding Sam Roxas-Chua (bio) Confessional Where I once took off my dressand drank sweet wine mixed with aloe. Where our fingers stretched the small mouthsof rattan—tongues licking each other’s lips like eelsborn at the orange hour. Afternoons where I bled for a weekfrom your stubble. It was there I saw revisions of heaven and hell,prayer and trespass leaking a liquid pearl into Andromedaand her buoyant stars. [End Page 91] Egg Brooding An octopus, miles deep in a baycovers her eggs for four years,I don’t know of such dedicationfrom anything living. And in that four years I’ve emptiedmany of your dress pocketslooking for a letter you saidyou would leave me. I go through dresses made of pineapplethreads, silk blouses you’ve stitchedin the dark to pay for milk powder,fortune noodles, and century eggs. On my first birthday,you bit my lower lipso you would have a storyto tell me about not being yours— how I came out of a womanwho was nineteen in the Philippines.And how she left me in the cradleof a tree limb, unwrapped. You wanted that story to hemmy lips together, not to ask questionsabout my birthmarks, my Chinesecousins, my made up languages sung during a typhoon. Never to askwhy nests would fall when we walkedthrough the jungle to beat a papayawith cudgels of chants. [End Page 92] Never to ask about my aversionto uncles, butchers, and albularioswho saw lights beam out of my handsat the midnight market. At the midnight market, how you heldmy wrist tight when we passedby the alligator crabs. How you saidsomething under your breath about the color blue. And after you boughtthe carob root from the no-eyed man,wearing no-shirt, he said goto the Capilla de dos luces. And you said, Yes. We headed for the firefly chapel,past Aling Girly’s Sari-Sari store,past the slut-house where you foundmy birthfather, Jose. And how he bit your lip to leave me a story about him.And how you washed your mouthwith good-smell soapsgifted on your wedding day. And on your wedding day, the monsoonrain arrived, unexpected.And how in that chapel lived a priestwho was once your husband. You never questioned the haloor the white sampaguitashe coughed up when you both burnedtrash under the mango tree for a blessing. [End Page 93] That same tree where you asked a dark godfor a potion so men would fall in love with you.How that red-eared god rolled his tongueinto your belly as payment, and how you heard those babiesin the garden. Those red-eared babieswho smelled like soot and hoof;how their hands, like octopus ferns left tiny bruisesin the shape of small eggs. And howin the chapel they glowed in silence.Mother, why does walking hurt my hands? [End Page 94] Sam Roxas-Chua Sam Roxas-Chua is the author of Fawn Language (2014). His work has been published in Narrative, december Magazine and other journals. Roxas-Chua was the winner of the Missouri Review’s 7th Annual Audio Competition in Poetry. He holds an MFA from Pacific University and lives in Eugene, Oregon. Visit his website at samroxaschua.com Copyright © 2016 University of Wisconsin Board of Regents

Not Your Lucky Day: Romantically and Numerically Special Wedding Date Divorce Risks

Characteristics of couples on or about their wedding day and characteristics of weddings have been shown to predict marital outcomes. Little is known, however, about how the dates of the weddings predict marriage durability. Using Dutch marriage and divorce registries from 1999-2013, this study compares the durations of marriages that began on Valentine's Day and numerically special days (dates with the same or sequential number values, e.g., 9.9.99, 1.2.03) with marriages on other dates.In the Netherlands, the incidence of weddings was 137-509% higher on special dates than ordinary dates, on an adjusted basis, and the hazard odds of divorce for special-date marriages were 18-36% higher. Sorting on couples' observable characteristics accounts for part of this increase, but even after controlling for these characteristics, special-date marriages were more vulnerable, with 11-18% higher divorce odds compared to ordinary dates. This relation is even stronger for couples who have not married before.

Lost Then Found Photograph of My Parents

Lost Then Found Photograph of My Parents Stanley Plumly (bio) The bleached-out background sky is infinite, as the picture, like all pictures, seems freestanding, and, like all pictures, will, sooner or later, be an image of the dead, including the scythe-like curving of a car roof, plus part of the post between the two car doors right behind them: it’s probably a Chevy thus a comedown from my father’s Ford convertible, the one my mother’s driven into a tree, at a slow, courtship, side-street sort of speed. This is marriage, this is still the thirties. Whoever’s holding the camera—a Brownie Hawkeye?—has disappeared as well, on this, I think, a wedding day or a day just after. They’re dressed in coat and tie and something office formal to make the bride look older, with a handkerchief emerging from a pocket at her heart. Neither one of them seems happy, unhappy, or unsure, simply unaccustomed to what, in fact, just happened, death-do-them-part, my father’s squared-off shoulders supported on each side by crutches, an accident of timing, as most things in a life tend to be, my mother, on his left, with her faithful look of faith, since pictures never lie, looking straight at us. [End Page 23] Stanley Plumly Stanley Plumly is the author of the forthcoming collection Against Sunset (W. W. Norton, 2016) and The Immortal Evening: A Legendary Dinner with Keats, Wordsworth, and Lamb (W. W. Norton, 2014). He is a Distinguished University Professor at the University of Maryland. Copyright © 2016 Middlebury College Publications

Not Your Lucky Day: Romantically and Numerically Special Wedding Date Divorce Risks

Characteristics of couples on or about their wedding day and characteristics of weddings have been shown to predict marital outcomes. Little is known, however, about how the dates of the weddings predict marriage durability. Using Dutch marriage and divorce registries from 1999-2013, this study compares the durations of marriages that began on Valentine’s Day and numerically special days (dates with the same or sequential number values, e.g., 9.9.99, 1.2.03) with marriages on other dates. In the Netherlands, the incidence of weddings was 137-509% higher on special dates than ordinary dates, on an adjusted basis, and the hazard odds of divorce for special-date marriages were 18-36% higher. Sorting on couples’ observable characteristics accounts for part of this increase, but even after controlling for these characteristics, special-date marriages were more vulnerable, with 11-18% higher divorce odds compared to ordinary dates. This relation is even stronger for couples who have not married before.

The Representation of Pseudo-locality on The Spring of Korean Peninsula and The Wedding Day

The Representation of Pseudo-locality on The Spring of Korean Peninsula and The Wedding Day

The Age of the Efendiyya: Passages to Modernity in National-Colonial Egypt

The Age of the Efendiyya: Passages to Modernity in National-Colonial Egypt

AFTER FIFTY FULL YEARS, IT'S NICE NOT TO KNOW

AFTER FIFTY FULL YEARS, IT'S NICE NOT TO KNOW

The promise of happiness: desire, attachment and freedom in post/apartheid South Africa

This article examines wedding photographs. The wedding day is read as a staging of the achievement of desire and love, articulated through the use of space, objects and artefacts to project a vision of the self. The wedding ritual is not only framed by the presence of the camera, the gaze of the camera actually makes sure that the script is followed. This staging of romance is read through the notion of the ‘bridal gaze’, which places the figure of the bride at the centre of the achievement of fairytale romance and the promise of a future ‘happily ever after’. The images and affects of happiness in these ‘love plots’ are implicated in processes of identification and subjectivation that rely on relations of the gaze and ‘the look’, logics of self-image and self-possession, and the ritualised performance of romantic love as a site of freedom. I argue that nostalgia is invoked as a narrative strategy in wedding photographs in ways that place wedding rituals and the photographs produced out of them in and out of time with the present. The promise of happiness shared by the individuals ‘in love’, and the audiences that share in the ritualised performance of it, reflect the desire for inclusion within the progressive narrative of freedom in post/apartheid South Africa and the recognition of its flimsy presence, absence, promises and failures.

Circuitous Action: Revenge Cinema

Quentin Tarantino's Kill Bill 1 and 2 (2003 and 2004) stands out as extreme exercise in genre pastiche, even considered within filmography of a director commonly described as pop auteur par excellence. The future of once named by Noel Carroll as a signpost of postclassical American cinema-with its penchant for homage, citation, and cannibalizations of past-comes to a head in Tarantino's manic referentiality, his self-conscious forging of a directorial style from intertextual network that extends downwards into trash bin of film history, as well as outwards beyond territorial borders of Hollywood.1 A grand collage of director's particular movie obsessions, Kill Bill exposes those cult affinities that inform Umberto Eco's definition of postmodern movie, quotation of topos is recognized as only way to cope with burden of our encyclopedical filmic competence.2 What makes this work hyperbolic even by standards of audience well habituated to production of meaning by allusion is idiosyncratic contour of its topos, running to Chinese martial arts films, historical swordplay and gangster films from Japan, Italian and American westerns, and horror. Kill Bill's cult affinities are of a global order. We are confronted here with not only burden of a collective cultural memory, but a challenge of translation, of navigating across multiple lexica and regional traditions, of treading uneven textual surface that spans disparate geographies.The film's sprawling field of reference is held together by a simple story line: a woman, introduced simply as the Bride, awakens from a coma after a vicious assault on her life on her wedding day and, one by one, hunts down and kills her five attackers. A shocking act of violence sets plot in motion and initiates a series of violent counteractions. The stacked odds of initial confrontation, where we see lone victim outnumbered by her assailants, become seed of amplification and escalation of narrative actions. Underlying spectacular death scenes that many critics denounce in film is hyper literal algorithm of vengeance wherein injury requites injury in kind. In revenge stories like Kill Bill, not only does violence beget more violence, as saying goes, but does so according to a strictly predetermined logic as a reaction to and reinscription of initial cause, every turn of events a return to a founding event of violence. The vendetta in its formal contours thus entails, in words of John Kerrigan, an eye-for-eye attentiveness to lucid causal relations.3 To view narrative operations of revenge in such terms-as what Kerrigan calls impulse towards structure-is not to deny excess bred of its compulsion towards reprisal. Kill Bill aptly demonstrates tension between linear drive to rectify order and cyclical endlessness both imbedded in concept of vengeance, its protagonist's single-minded purposefulness finding expression in a mind-blowing frenzy of killing.4If revenge is red thread linking film's disjointed episodes and stylistic vagaries, it also weaves throughout generic tapestry into which film inserts itself. Tales of vengeance are backbone of western, and several of that genre's most memorable treatments of theme- The Searchers (dir. John Ford, 1956), Death Rides a Horse (dir. Giulio Petroni, 1967), Once Upon a Time in West (dir. Sergio Leone, 1968)- leave visible and audible traces in Kill Bill. Revenge also features prominently in Japanese historical costume drama, or jidaigeki, particularly in samurai swordplay pictures from which film borrows both its main object signifier, sword, and mode of that object's animation, swordfight spectacle. A standard story template of thejidaigefy, in which a swordsman or swordswoman must set their skills to test of avenging wrongful death of a master or family member, appears with equal frequency in Chinese martial arts swordplay genre, or wuxia pian. …