With the advent of a new decade, the movie industry of Hong Kong by late 1971 had changed forever with the release of Bruce Lee's first movie, 'The Big Boss.' Hong Kong film industry old guard, having administered a hidebound approach to film production for the past several decades, were now suddenly forced to re-evaluate. Even Shaw Brothers, who in particular had monopolised the Hong Kong movie machine, found themselves on the canvas looking up in disbelieve at the now' pound for pound' champion, Bruce Lee. In this volume, we recommence our research as Lee continued to dominate not only the Southeast Asian movie market but also his endeavour to overcome a racially prejudiced Hollywood and prove his worth as an international commodity to the world of action cinema. Once again, the arduous task of researching and refining another historical piece of Bruce Lee history was no easy task. In comparison to the previous volume, BRUCE LEE: MANDARIN SUPERSTAR, that covered a timeline of around three years, this follow-up compendium microscopically examines a chronological fraction in contrast, with a mere six months in the life of the man. As work began on this book, it soon became apparent the amount of historical depth and development that had occurred in the life of Bruce Lee within such a brief period between late October 71 to April 72. Predominantly centred around his second movie, 'Fist of Fury, ' the real premise of this book is not only an in-depth examination of the historical significance behind the film but more so Lee's continued pursuit for international fame and recognition. In the pages ahead, the reader will not only be amazed by the visual artistry and photogenic attributes of the man, but also his continued drive towards excellence within the Southeast Asian movie industry. In so many ways, Bruce Lee was a cinematical 'Ronin, ' a 'drifter' or 'wanderer, ' with no fixed abode in the world of movie-making, a man with no lord or master other than himself. With the formation of his production company 'Concord, ' Lee now had freedom over conformity and a pathway to finally becoming the 'master of his own destiny' with his soon to be 'directorial debut.' By April 1972, and record-breaking box-office with his previous two films, the Hong Kong movie industry was undoubtedly partisan in their endeavours to emulate his formula without much success. But for an ardent and expressively driven Bruce Lee, his aspiring achievement in the Southeast Asian movie industry, although providing financial security, was somewhat insignificant in comparison to his dream of international recognition and ultimately Hollywood fame. -Steve Kerridge 2020
EVERYBODY WAS KUNG FU FIGHTING: A Retro Journey Back to the 1970s. Let us take you back to the early 1970s when suddenly this strange oriental action genre hit the cinema and television screens and changed popular youth culture with stars such as Wang Yu, David Chiang, Angela Mao Ying, David Carradine, and of course the King of Kung Fu - Bruce Lee.
In Crying for a Vision, British-born poet, musician and performance artist Steve Scott offers a challenge to artists and a manifesto for the arts. This new edition includes an introduction and study guide, four newly-collected essays and an interview with the author. Steve Scott is the author of Like a House on Fire: Renewal of the Arts in a Post-modern Culture and The Boundaries. "Steve Scott is a rare individual who combines a deep love and understanding of Scripture with a passion for the arts." -Steve Turner, author of Jack Kerouac: Angelheaded Hipster. "Steve Scott links a number of fields of inquiry that are usually perceived as unrelated. In doing so he hopes to open wider possibilities for Christians in the arts, who may perhaps be relieved to find that, in many ways, they were right all along." -Rupert Loydell, author of The Museum of Light. Cover art by Michael Redmond
The Social Topography of a Rural Community is a micro-history of an exceptionally well-documented seventeenth-century English village: Chilvers Coton in north-eastern Warwickshire. Drawing on a rich archive of sources, including an occupational census, detailed estate maps, account books, private journals, and hundreds of deeds and wills, and employing a novel micro-spatial methodology, it reconstructs the life experience of some 780 inhabitants spread across 176 households. This offers a unique opportunity to visualize members of an English rural community as they responded to, and in turn initiated, changes in social and economic activity, making their own history on their own terms. In so doing the book brings to the fore the social, economic, and spatial lives of people who have been marginalized from conventional historical discourse, and offers an unusual level of detail relating to the spatial and demographic details of local life. Each of the substantive chapters focuses on the contributions and experiences of a particular household in the parish-the mill, the vicarage, the alehouse, the blacksmith's forge, the hovels of the labourers and coalminers, the cottages of the nail-smiths and ribbon-weavers, the farms of the yeomen and craftsmen, and the manor house of Arbury Hall itself-locating them precisely on specific sites in the landscape and the built environment; and sketching the evolving 'taskscapes' in which the inhabitants dwelled. A novel contribution to spatial history, as well as early modern material, social and economic history more generally, this study represents a highly original analysis of the significance of place, space, and flow in the history of English rural communities.
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