It is notable that in the recent renaissance of Chinese-language cinema, wenyi and wuxia return together as powerful source materials for filmmakers to venture onto global screens. Examples include "In the Mood for Love" (2000, wenyi); "Hero" (2002, wuxia wenyi); "Yiyi: A One and a Two" (2000, both wenyi wuxia). Wenyi, "literature and art" or literary art, can be described as Chinese melodrama characterized by interior staging, female pathos, and Confucian ethics, while wuxia, martial chivalry, refers to sword-play filems embedded in righteous heroism. Wenyi and wuxia were both staples of the industry from the advent of film production in China at the turn of the twentieth century. Although both disappeared in the Mainland after 1949, they were the backbone of the rationalized, Fordist modes of production in Hong Kong and Taiwan for naerly three decades.
|Title of host publication||Cinema Taiwan : politics, popularity and state of the arts|
|Number of pages||14|
|Publication status||Published - 1 Jan 2007|