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The wuxia pian (“films of chivalric combat”) that in the late ’60s and early ’70s dominated Shaw Brothers’ releases embodied the oldest of traditions, extending from classic novels like the seventeenth-century Water Margin (to which Shaw Brothers paid tribute with a 1972 film version followed by the 1973 sequel, All Men Are Brothers) and the melodrama and acrobatics of Chinese opera ...
Oct 18, 2018 · Nick Pinkerton on “Shaw Brothers Horror” at Metrograph. Directed with garish verve by Kuei Chih-Hung––an exploitation expert and the house freak at Shaw Studio, who, in addition to supernatural splatter movies, turned out low comedies, women-in-prison pictures, and crime thrillers including the SM-tinged The Killer Snakes (1974)—Boxer’s Omen has something for everyone.
Mar 12, 2014 · By the early-’70s, he was watching forty-plus Shaw Brothers features a year. Leading directors in the studio had their own units (there were certain rivalries) and made pretty much whatever genre films they liked, but Run Run’s business model was inflexible: Everyone was on a fixed salary, there was no profit-sharing, and rewards for success came only in the form of celebratory banquets.
Jun 6, 2014 · Tsai Ming-liang, Goodbye, Dragon Inn, 2004, 35 mm, color, sound, 82 minutes. TSAI MING-LIANG’S Goodbye, Dragon Inn (2004) takes place at the Fu-Ho Grand, a leaky, waterlogged Taipei movie palace on the night of its last-ever screening, which happens to be King Hu’s Dragon Inn (1967) a landmark in the genre called wuxia pian.
Jul 30, 2014 · There were two last films as director: King of Masks (Bian Lian, 1995), a charming fable about a 1930s street entertainer, financed by Shaw Brothers in Hong Kong, and An Unusual Love Story (Feichang Aiqing, 1998), in which strong performances just about redeem the mawkish plot.
Mackendrick was a perfectionist who—after making the most of Ealing’s protective environment, which nurtured him as a filmmaker—finally had trouble dealing with the casual ruthlessness of the international film world. He was fired from several important projects, apparently for being stubborn and slow to produce.
The Gao Brothers (Gao Qiang and Gao Zhen), driven by the memory of their father, who was arrested in 1968 as a counterrevolutionary and died in custody, rose to international fame in the 1990s as artistic provocateurs. In a practice that can be mocking and damning but also personal and meditative, they relentlessly challenge the legacy of Mao ...
This exhibition of the works of Peter Voulkos, John Mason, Kenneth Price, Robert Arneson, David Gilhooly, and Richard Shaw—all at one time California-based, all linked by educational institutions and a network of teacher/student relationships—might have the effect of lessening the clay taboo.
Identifying zeitgeists or parsing categories cannot account for the history of stubborn and deeply intelligent experiments of thinking culture like the Red Krayola, Mayo Thompson’s four-decades-running artist band, or Mike Kelley and Jim Shaw’s wildly original performance group Destroy All Monsters, both of which take music and art to ...
Three key concepts in McCarthy’s discourse are “culture,” “fear,” and “dream.”. Where the scandal emerges is in the deliberately antitherapeutic work done with these terms, in the mercilessness of their use. Consider Sod and Sodie Sock Comp O.S.O., 1998. When McCarthy, along with Mike Kelley, presented this colossal performance ...
