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.5 Yau Shuk-ting, Kinnia, Shaws Japanese Collaboration and Competitionas Seen Through the Asian Film Festival Evolution in The Shaw Screen.6 Shaw Brothers also attempted a short-lived campaign to break out of theethnic film circuit in New York, with a year-long series of films shown atthe 57th St.Playhouse in 1965.Almost universally negative reviews puta halt to this effort.7 Seven Samurai was, in fact, released in overseas markets in 1956 under thetitle The Magnificent Seven.8 Grossman, Andrew, China Gate , Scope: An Online Review of FilmStudies (February 2001),9 Sunder, China Gate , Planet Bollywood,10 The title refers to a campaign fought years earlier, for which the menwere court-martialled due to their supposed cowardice in fleeing thebattle.02 EA Cinema_015-040 28/1/08 11:36 Page 39Remaking Seven Samurai in World Cinema 3911 Desser, David, Making Movies Male: Zhang Che and the Shaw Bros.Martial Arts Movies, 1965 1975 in Pang Laikwan and Wong Day (eds),Masculinities and Hong Kong Cinema (Hong Kong: Hong KongUniversity Press, 2005).12 Of course there is a racial dimension to the global North/South divide.13 Actually, Kyuzo s character here is more clearly drawn from Three OutlawSamurai than Seven Samurai, in that Kikyo, in Gosha s film, is, like Kyuzoin Samurai 7, originally in the employ of the local, oppressive magistrate.14 One of the most moving and brilliantly handled of all the sequences inKurosawa s film is the raid on the brigand s fort and the death of Rikichi swife; it is one of those moments that is rarely reproduced in subsequentversions.02 EA Cinema_015-040 28/1/08 11:36 Page 4040 East Asian CinemasAppendix: Remakes of Seven SamuraiDirect RemakesThe Magnificent Seven (US, 1960)Beach of the War Gods (HK, 1973)Message from Space (Japan, 1978)Battle Beyond the Stars (US, 1980)World Gone Wild (US, 1988)Seven Warriors (HK, 1989)Dune Warriors (US, 1990)The Wild East (Kazakhstan, 1993)China Gate (India, 1998)The Bad Pack (1998)Samurai 7 (anime, Japan, 2005)Significant borrowingsThree Outlaw Samurai (Japan, 1964)The Magnificent Trio (HK, 1966)The Dirty Dozen (US, 1967)Sholay (India, 1975)Steel (US, 1980)The Mission (HK, 1999)The Anarchists (Korea, 2000)Seven Swords (HK, 2005) (serialised novel begun in early 1956)Parodic remake/reworkingThe Wild Bunch (US, 1969)Three Amigos (US, 1986)A Bug s Life (animation, US, 1998)Captivity HybridReturn of the Seven (US, 1966)Star Wars (US, 1977)The Wild Geese (US, 1978)Uncommon Valor (US, 1983)03 EA Cinema_041-056 25/1/08 09:14 Page 413Gary NeedhamFashioning Modernity: Hollywood and theHong Kong Musical 1957 64In 1965, when the Hong Kong film studio Shaw Brothers announcedin their magazine Southern Screen the launch of the forthcoming NewWuxia Century, it was the beginning of an enduring relationshipbetween Hong Kong Cinema, the martial arts genre and an obsessionwith masculinity.1 In the martial arts film, Hong Kong cinema foundits voice, both cultural and economic, in a genre that placed emphasison Chinese history, tradition and myth, all of which were reifiedthrough modern cinematic technologies, images of the male body andthe steady development of an anti-colonial ideology.Since the early1970s the martial arts film has almost been synonymous with HongKong cinema, through the wide dissemination of the kung fu film inthe international film market up to the more recent cross-fertilisationof Hong Kong aesthetics in Hollywood action cinema.However, themartial arts film is only one genre in an industry previously dominatedby musical genres, melodrama and a star system largely consisting ofwomen.The more recent globalised context of film production in Asiais partly a consequence of this earlier period of cultural and cinematiccontact between Asia and the West
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