Lee's Career as an Actor

The Hong Kong dissipate industry blossomed in the 1920s and, after the Peoples Republic of China nationalized the Shanghai film industry, the British Protectorate of Hong Kong became the principal source of Chinese-language films as the intravenous feeding Shaw brothers established "the largest studio complex ever built in Asia" and began turning out popular fare at an undreamed rate (Dannen 31). In 1970 one of the Shaws' producers, Raymond Chow, formed the Golden harvest-festival production keep company and set just about the task of cutting out his own niche. Shaw was a soldierlike arts sports fan and when he had the good fortune to sign Bruce lee side his company was do.

Born Lee Jun Fan in Oakland California, while his dumbfound was on tour with the Cantonese Opera Company, Bruce Lee Grew up in Hon Kong working in films as a child actor--very often as a fighter of one sort or a nonher. He returned to the United States in 1959, in time to arrogate his American citizenship, and attended the University of Washington in Seattle. Lee, who had become a martial arts champion and an influential teacher (who undecided his classes to non-Asian students), looked for work in Hollywood and was cast as the load-bearing(a) character of Kato in the Green Hornet television series which premiered in 1966. Throughout the 1960s Lee had also built his genius in the martial arts

Lee, it has been said, starred in "revisionist" kung fu films but the revisionism in his approach was not to take the art of film any farther than it had already gone in Hong Kong (Fore 242). What Lee offered was the spectacle of the truly accomplished martial arts expert whose skills were the star of the films. In previous kung fu films the skills of the actors and silicon chip players had been important, but Lee raised the art of kung fu to a in the raw level where audiences were as much amazed by the individualist performer as they were by the "fantastic and extravagant" consummation of the violence and action (Brodie).

The extent of the revolution caused by Lee can be gauged by the fact that the biggest star in the existence now is Jackie Chan, who did not connect with audiences until, as he puts it, he began to wonder "how can I get unfreeze of the Bruce Lee shadow and be Jackie Chan?" (quoted in Dannen 33). He went about the task by viewing all of Lee's films and noting that it was the sheer development of the moves and the startling intensity of his presence that marked Bruce Lee off from his successors. Thus Chan decided to simply stop competing in that accompaniment sense and developed the style, called Wu Da Pian ("fight films with martial arts"), "featuring incredible athleticism, martial arts, and highly dangerous stunts" (Williams). But Chan, who has cited fashion plate Keaton as a second great influence, also made sure that his films were "mind-bendingly violent but laced with slapstick," thereby adding a comic ease and an everyman quality that audiences in East Asia were draw to immediately (Brodie).

The film was The Big Boss (U. S. Fists of Fury) and it revolutionized film make in Hong Kong as it went on to "net Golden draw a return of five hundred times its enthronization" (Dannen 32). Lee was neither director, writer, nor producer on the film and yet he was the person primarily responsible for this sudden throwback in Chinese film. At the time Lee reentered the world of Hong
Order your essay at Orderessay and get a 100% original and high-quality custom paper within the required time frame.