Dragon Fist 2 - Battle for the Blade

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The anti-Americanism of Jackie Chan

Jackie Chan, shown here at a comedy show in San Diego, disparaged the United States on a Chinese TV show. (Kevin Winter/Getty Images)

 

Americans know Jackie Chan best for his cheery, acrobatic performances in action movies such as "Rumble in the Bronx" and "Rush Hour," made successful by his amazing martial artistry and self-effacing comedy. Chinese know Chan, a Hong Kong native, for largely the same reasons. But they also know him for something most Americans might find surprising: He is passionately political, a staunch defender of the Chinese Communist Party and harsh critic of anyone he sees as opposing Beijing. Today, that includes the United States.

Chan, responding to widespread criticism of China's recent censorship of a popular newspaper, insisted in a Chinese TV interview that the United States is "the most corrupt country in the world." He scolded Chinese who criticize their country in a way that foreigners can hear or see, adding that he's careful to only praise China when giving interviews in the U.S.

Here are his comments, translated into English by Ministry of Tofu, which also has the video. It's worth watching to see how animated he becomes when criticizing the U.S. and defending China. I don't speak Chinese, unfortunately, but if you're like me then you can follow him a little by listening for the word "Meiguo," which means America. (Fun fact: It translates literally to "beautiful country.")

Jackie Chan: The New China. The real success has been made in the past dozen of years. Our country’s president also admits they have the corruption problem, and some other stuff, but we are making progress. What I can see is our country is continuously making progress and learning. If you talk about corruption, the entire world, the United State, has no corruption?

Host: America.

Chan: The most corrupt in the world.
Host: Really?

Chan: Of course. Where does this Great Breakdown [financial crisis] come from? It started exactly from the world, the United States. When I was interviewed in the U.S., people asked me, I said the same thing. I said now that China has become strong, everyone is making an issue of China. If our own countrymen don’t support our country, who will support our country? We know our country has many problems. We [can] talk about it when the door is closed. To outsiders, [we should say] “our country is the best.”
Host: So he can’t get enough of his more than 20 ambassador titles. I think the Ministry of Foreign Affairs should ask him to be the ambassador to the United States.

Chan: Seriously, I am always like, when the door is closed, “Our country is like this and this. Who and who is not good.” But outside, “Our country is the best, like so and so, is the best.” You cannot say our country has problems [when you are outside], like “Yes, our country is bad.”

This interview is probably not so surprising to Chinese viewers. Chan has been stirring controversy for a few years now for criticizing Taiwan and Hong Kong as models of what can go wrong when you have "too much freedom." He once said, in defending China's censorship of his films, "Chinese people need to be controlled, otherwise they will do whatever they want." So, in some ways, it was probably only a matter of time until he set his sights on the United States. Given that he called Taiwanese democracy "the biggest joke in the world," it's surprising his criticism of the U.S., which is commonly viewed as either Taipei's sponsor or its puppet-master, wasn't harsher.

Chan's comments, though widely disparaged on Chinese social media, do reflect a certain strain of anti-Americanism that is particular to some elements of China. Like his criticism of Taiwanese and Hong Kong democracy, it's as much about defending China. And that defensiveness is often more about internal Chinese doubts about their country's progress, which has come so far but still has a ways to go. The flip side of Chinese nationalism, which has risen along with China itself, is often a sense of national insecurity.

This aspect of Chinese nationalism has seemed to peak at moments when China comes under more international criticism, as Beijing-based journalist Helen Gao wrote in a great piece about the anti-Japanese protests from this past summer. In many ways, Gao argued, such outbursts are less about lashing out against critics than a manifestation of "the Chinese public's struggle to reconcile the frustrating social realities surrounding them with the lofty patriotic ideals they have long internalized."

Still, you might naturally be wondering how Chan can square his criticism of the United States with his long embrace of the American film market. How, after all, could he spend so much time making movies in "the most corrupt country in the world"? It's the sort of contradiction that can make Chinese views of the U.S. baffling. I'm reminded of a 2011 Chinese TV documentary about the 10th anniversary of the Sept. 11, 2001, attacks, in which a young student beamed that he had been "very happy" about the attacks. He added of Osama bin Laden, "Anyone who quarrels with the Americans is a hero." When the interviewer asked the Beijinger how he felt about the United States, he said, hardly missing a beat, "I love it. I'm studying in the U.S. soon. If I don't have to come back, then I won't come back."

To be clear, I'm not suggesting that Jackie Chan holds such opinions, or that this is even a particularly common view in China. The young Beijinger's comments were roundly mocked on Chinese social media precisely because they were so baldly hypocritical. Still, they were an extreme form of a much milder but similarly contradictory Chinese perception of America, one that maybe has echoes in Chan's condemnation of the country that has helped make him so rich.

Look at it this way: Christian Bale, who famously got himself attacked by Chinese state security officials who kept him from visiting house-arrested dissident Chen Guangcheng, also starred in a popular Chinese film, "The Flowers of War," about the country's trauma during the 1937 Nanjing massacre. It probably intuitively makes sense to Americans that a Western movie star would both draw attention to China's faults while also starring in a Chinese movie that so stoked Chinese nationalism that it was accused of being "propaganda." (I haven't seen the movie so can't comment on that charge.)

The apparent contradiction in Bale's behavior is consistent with a certain view of China that, right or wrong, is popular in the West: of a great country held back by a repressive government. To the degree that Chan's comments were anti-American, they likewise reflect a common Chinese view of the United States, one that is rooted not just in attitudes toward America but in China's proud but sometimes insecure view of itself. In other words, we shouldn't be too offended.

Jackie Chan Chinese actor and director

Jackie Chan, originally Chan Kong-sang   (born April 7, 1954, Hong Kong), Hong Kong-born Chinese stuntman, actor, and director whose perilous acrobatic stunts and engaging physical humour made him an action-film star in Asia and helped to bring kung fu movies into the mainstream of American cinema.

Chan was born to impoverished parents in Hong Kong. The family moved to Canberra, Australia, when Chan was six, but the following year his parents sent him back to Hong Kong to attend a strict boarding school that trained students for jingxi. From ages 7 to 17 he studied acrobatics, singing, martial arts, and mime—skills that launched him into a position with a professional tumbling troupe and landed him bit roles as a child actor and, later, as a stuntman. The independent film producer Lo Wei, hoping to find a successor to the late Bruce Lee, cast him in a series of lacklustre kung fu movies in 1976–78. Rather than ape Lee’s gritty persona, Chan utilized his own form of bumbling physical comedy in his first successful films, Snake in the Eagle’s Shadow (1978) and Drunken Master (1978).

Chan made his directorial debut in Young Master (1980), with the production company Golden Harvest, which he subsequently helped transform into Hong Kong’s largest movie conglomerate. In the early 1980s, at the time when he was making an unsuccessful foray into English-language cinema, he moved beyond traditional martial arts period movies to modern action-adventure films, such as Project A (1983) and Police Story (1985), along with their sequels. The films showcased his directorial talent for fight and stunt choreography. His own stunts were often extraordinarily dangerous; he nearly perished from a fall in Armour of God (1986) that fractured his skull and impaired his hearing.

In the 1990s Chan finally broke through into the American market. He received the Lifetime Achievement Award from the cable network MTV in 1995, and the following year his blockbuster Rumble in the Bronx (1995) was released in the United States, along with some of his other classic Hong Kong titles. Chan starred alongside American comedian Chris Tucker in Rush Hour (1998), which enjoyed a great deal of success and launched two sequels (2001 and 2007). Chan continued to work both within the Hollywood system (though he disliked the limitations it placed on actors) and in Hong Kong cinema. In the United States he appeared in such films as Shanghai Noon (2000), The Tuxedo (2002), The Forbidden Kingdom (2008), and The Spy Next Door (2010). In 2010 Chan also starred in a remake of the 1984 action-drama The Karate Kid. His Chinese-language movies include Xin jing cha gu shi (2004; New Police Story), Bo bui gai wak (2006; Baby), and Xinhai geming (2011; 1911), a historical drama in which he starred as Chinese revolutionary Huang Xing.

In addition to acting, Chan pursued a career in the Hong Kong music industry, releasing a number of original albums beginning in 1984. He founded the Jackie Chan Charitable Organization in 1998, which, among other projects, offers scholarships to Hong Kong youths, and he worked as a goodwill ambassador for UNICEF.

What Jackie Chan can teach us about writing action

Following up my post on what writers can learn from Akira Kurosawa, I’m going to do another blog post on writing- this time based on the nine rules that Tony Zhou outlines in the video below about how Jackie Chan masters action comedy. Naturally, it will be easier to follow if you’ve watched the video, so check it out first.

Action is primarily a visual creature, and is a natural fit for film, but can you do it well in prose? I would say yes, but let’s see if Tony’s 9 Jackie Chan “rules” can be applied to prose writing.

Jackie Chan’s 9 Principles of Action Comedy (as noted by Tony Zhou)

1. Start with a DISADVANTAGE

This one is pretty obvious. If your goal is to build tension, then having your character at a disadvantage in a scene in a must, whether they’re supposed to fight or just trying to run away. The more of a disadvantage you can put them at, the better, although I should note that Jackie primarily makes action-comedies. There is a reason Batman doesn’t most start fights at a disadvantage- because he’s a kick-butt reader surrogate and is supposed to make the reader feel powerful. If you take that away from the reader, they’re not going to like it much. (Although even Batman does occasionally start fights at a disadvantage for variety and dramatic purposes.)

2. Use the ENVIRONMENT

Tony is actually combining two points here in the video under one.

The first point he brings up is that Jackie uses the environment in his fights, which makes them more real and unique in a sense. If you can offer your reader something they haven’t seen before in a fight, like a character fighting with a ladder, then that can show that you’ve actually taken the time to think through this fight scene and make it interesting for the reader. If you emphasize the environment properly, it gives the reader a sense of place and can be used to help set up shots.

Speaking of which, the second point is really to set up your shots! If you want to have an action scene, then give the reader a sense of the terrain before and during the action sequence. Don’t be afraid to foreshadow or even lead a little with your descriptions like Jackie does in his movies. In the example they give, Jackie does a shot of a stuntman being knocked down a spiral staircase before he himself uses it shortly for his own actions- and there’s no reason you can’t do this kind of thing too! Use people, objects and even descriptions to lead the reader through the action, and make it easier for them to follow.

3. Be CLEAR in your shots

This is a trickier one for writers than you might think.

Normally, writers increase the pace of action scenes by using short, clear sentences and paragraphs to increase the pace of the action and story. They also focus on the very key elements of the events happening to keep from letting description bog down the action as it’s happening. However, to be truly clear about what’s happening you need to describe the action, and you need to do it in a way that paints a clear picture in the reader’s mind so they can follow it without being confused.

So you have to find a balance:

• Too much description = slow reading and pacing.
• Too little description = reader confusion.

This is one of the things that makes writing action so difficult- finding that sweet spot that conveys a clear image of the events for the reader to experience and enjoy while at the same time not bogging them down with too much, or disorienting them with too little detail.

4. Action & Reaction in the SAME frame

Not sure if this one can apply to writing. The only think I can think of goes back to #3, about being clear in your shots and #2b about letting the reader know where the action is going before it does. If any of you have other thoughts on how this one could be applied, please leave it in the comments.

5. Do as many TAKES as necessary

For writers, this is really about how much time you want to spend on your action scenes and effort you want to put into detailing them out. Especially in the modern self-publishing world where getting books out fast is often linked with financial success, it can be hard to spending days, weeks (or months) planning an action scene or sequence, but there are times when quality really is linked with time spent.

Again, like most things with writing, it comes down to balance.

You need to know what you’re capable of, and how much time you’re willing to spend, and then use that time accordingly. If you think you’ll benefit from storyboarding out a whole action scene first and you have the time, then why not? (It might also make a great extra for loyal readers, or to get people to join your mailing list.) But, if you’ve got two weeks to finish this book or the rent doesn’t get paid next month, then you’ll probably want to just do what you can and move on.

6. Let the audience feel the RHYTHM

This goes back to #3- let the audience understand what’s happening and they’ll be able to appreciate it more. Also, too many quick cuts (jumping from different points of view, or jumping between simultaneous action at different places) can prevent the reader from really appreciating what’s happening. Both POV jumping and jumping between scenes are effective tools for dramatic pacing in a book, but if you overuse them the reader can get confused or tired by it- so as with garlic and salt in cooking, use them in controlled moderation to avoid leaving a bad taste in the audience’s mouth.

7. In editing, TWO good hits = ONE great hit

This is a film editing trick, and I don’t think it can be applied to prose action writing. However, if anyone has some thoughts feel free to note them in the comments section below, I’d be interested to hear them.

8. PAIN is humanizing

This one is pretty self explanatory- we empathize with suffering, especially suffering we’ve experienced ourselves, and it brings us closer to the characters and makes them more human. Don’t be afraid to let your characters be hurt, even if it’s just superficial hurts it still reminds us that they’re people and made of flesh and blood like the audience.

Obviously, it also adds to the drama when characters are hurt, because it puts them at a disadvantage in the action and forces them to try even harder to get out of the hole they’re in. If your characters are macho tough-guys, then maybe you don’t want to show them being hurt too much, but if you want the audience to really feel for the character, showing them suffer is a great way to do it. Writer Chuck Palahniuk (of Fight Club fame) once advised that if you want to connect with the reader describe a character’s feet or their mouth, because both places are filled with nerve endings and give us intense sensations in real life.

9. Earn your FINISH

Story can be said to be about struggle. Nobody wants to watch a story about a guy who just walks through park and nothing happens, or someone doing something that isn’t hard or difficult for them to do in some way. While you don’t have to make it a series of ever-stronger bosses like a Jackie Chan movie, you should do your best to show that the character had to overcome something (mental, physical, emotional or social, or some combination thereof) to reach their goals and achieve victory.

Don’t be afraid to stack the odds against your characters, and let them have to do something outside of their comfort zone to win. Of course, if you overdo it, it can become ridiculous, so make sure your poor character does at least have a slim chance of winning in the reader’s minds.

Final Thoughts

I’ve always been fascinated by the art of writing action in prose form. I think it comes from growing up on comics and action films and then transitioning into literature, where unfortunately the ability to write action varies widely by writer. It’s not an easy skill, and it’s one I struggled with when I was writing my Little Gou short stories and novel, especially since that was literally an attempt to write kung-fu adventures! I don’t claim to have mastered it, and I think I learned a few new tricks watching this video and thinking through this article, but in any case it’s a skill any writer can benefit from developing- whether you’re writing kung fu in old China, car chases through Cairo, or gunfights under the Texas sun.

Jackie Chan not retiring from action cinema

Updated: Jackie Chan has clarified his recent comments on retiring from action cinema.

UPDATE: We've left the original story in tact below, but Jackie Chan has taken to Facebook to clarify his comments, and issue the following statement:

"Yesterday in my press conference in Cannes for Chinese 12 Zodiac I said that this movie was my last big action movie. Today I was shocked when I woke up to read all the news coverage that I was retiring from doing Action movies. I just want to let everyone know that I am not retiring from doing action movies. What I meant to say is that I need to do less of the life risking stunts on my movies. After all these years of doing so many stunts and breaking so many bones, I need to take better care of my body so I can keep working.

I will continue to do international action movies.

And I will keep improving my English :-)

I love all of you!

Jackie"

Here's our original story:

It was bound to happen one day, but it’s sad news nonetheless; Jackie Chan has announced his decision to retire from action movies. Whilst at the Cannes Film Festival the action legend was publicising his latest movie Chinese Zodiac and stated that he has begun to feel “really, really tired”, which is hardly as surprise given just how far he’s pushed himself over the years for the enjoyment of his audience.

He went on to say: “This is my last action film, I tell you, I’m not young any more. I’m really, really tired and the world is too violent right now. It’s a dilemma - I like action but I don’t like violence. For the last 10 years I have been making some other different movies. I want to be an Asian Robert De Niro. I don’t just want to be an action star, I want to be a true actor. I want to get rid of my image.”

“I want the audience to know I’m not only a comedian. I can act. Day by day, year by year, I’m going to show you the real Jackie Chan.”

Chan’s career began in the 1960s and Chinese Zodiac marks his 100th film, the vast majority of which saw him push his body to its limit.

Brett Ratner, who directed the Rush Hour trilogy, had the following to say about Chan: “Jackie is superhuman. He does things that no actor would ever do. In Hollywood we would do a green screen and put the actors on wires and pretend they were in the sky. Jackie does it for real. No other actor, I don’t care who they are, can do what Jackie Chan can do.”

Jackie Chan is a remarkable talent and a great asset to the movie industry. And, with thanks for the many action moments of joy he's given us over the years, we wish him well in his future movies.

Does Jackie Chan really do all of his own stunts?

Is there a line drawn by executives or the director where he can't do certain stunts for the sake of the production?  What is it like watching Chan block and perform the stunts?
Yes. It’s an incredible thing to watch. He popped his ankle out one day while jumping onto a boat in a scene forShanghai Knights. He designs and choreographs his action scenes the way Gene Kelly or Fred Astaire would choreograph a dance sequence. The Ideas flow out of him in real time, and we actually had to chase him around with a film crew to adapt to what he was thinking up.
 
One of the things that was really amazing was watching him use sleight of hand. He understands what the camera sees, what the camera doesn’t see, and understands how it’s going to be entertaining for an audience to watch him do what he does. He’s a bit of a magician…as well as a stuntman.

Guy Kawasaki

A point of clarification to the award winners of the my loop contest. I’ve sent most of you a copy of The Art of the Start, and I signed them “Kick butt!–Guy Kawasaki.”

Some people thought I wrote “Lick butt.” Once I autographed a book for a woman, and she asked me why I signed her book, “Nice butt!” (I can’t remember if she had one or not.)

So just so you know, I sign my books, “Kick butt.” Not “Nice butt.” Not “Kiss butt.” And certainly not “Lick butt.”

And while we’re on the subject of kicking butt, let me tell you a funny story. About six years ago, at the height of the dotcom hype, I owned a Porsche 911 Cabriolet. One day I was at a stoplight in Menlo Park, and a car full of teenage girls in the next next lane were giggling and smiling at me.

I’m thinking, “Guy, you’ve finally arrived: Even teenage girls know who you are–Macintosh evangelist, venture capitalist, author, speaker. How sweet it is!” Finally, one of the girls motions me to roll down my window.

I put down the window, fully expecting her to tell me how much she loves my writing, speaking, whatever, and she says, “Are you Jackie Chan?”

That incident made me establish a new goal to execute: that someday Jackie Chan will be stopped at a light in Hong Kong, and a car full of teenage girls will ask him to roll down his window. Then one will ask, “Are you Guy Kawasaki?”

Jackie Chan Strikes a Chinese Nerve

Agence France-Presse — Getty Images

Jackie Chan, with his son, Jaycee, at a news conference this month to promote his coming concert in Beijing. Last weekend, Mr. Chan made some unflattering remarks about Chinese people.

BEIJING — Jackie Chan, the Hong Kong martial arts star well known for showing his own failed stunts at the end of his films, may have another blooper to his credit.

When Mr. Chan told a high-level gathering of Chinese government officials and business leaders last weekend that Chinese people were ill equipped to handle liberty, he found himself on the receiving end of a verbal thrashing from across the Chinese-speaking world that is still reverberating.
“I’m gradually beginning to feel that we Chinese need to be controlled,” Mr. Chan said during the Boao Forum, the annual economic conference held on Hainan Island with a keynote speech by Prime Minister Wen Jiabao. “If we are not being controlled, we’ll just do what we want.”
The response was strongest in Hong Kong and Taiwan, which Mr. Chan, one of Asia’s wealthiest and best-known entertainers, held out as particularly “chaotic.” But even some intellectuals in mainland China spoke out against stereotyping Chinese as people who crave authoritarian leadership.
Apple Daily, one of Hong Kong’s biggest newspapers, used its front page to anoint him “a knave.” Politicians in Taiwan, the self-governing democratic island that China claims as sovereign territory, described him as “idiotic” and “ignorant.” Albert Ho, a Hong Kong legislator, called Mr. Chan a “racist,” adding: “People around the world are running their own countries. Why can’t Chinese do the same?”
Here on the mainland, a writer published online by The People’s Daily, the Communist Party’s mouthpiece, gave him a thumbs down. “I guess Jackie Chan has never experienced the lack of freedom, and has not been cruelly controlled,” the commentator, Li Hongbing, wrote.
As the storm gathered, words turned to action: the mayor of Taipei, Taiwan’s capital, dropped Mr. Chan as an ambassador for the 2009 Summer Deaflympics in Taiwan. The Hong Kong Tourism Board said it would reconsider his role as its most high-profile spokesman. On Facebook, more than 9,700 people threw their weight behind a tongue-in-cheek effort to dispatch Mr. Chan to hypercontrolled North Korea.
“I wouldn’t watch his movies again unless he apologizes,” said Shing Hiu-yi, vice president of the Students’ Union Council at Hong Kong University, one of many groups that have been issuing condemnations and calling for boycotts. “What he said was insulting to the Chinese people.”
On the other hand, few have publicly acknowledged that Mr. Chan’s sentiments, even if “taken out of context,” as his spokesman insisted, are quietly accepted or embraced by many Chinese. The Communist Party has long argued that the people of China are ill suited for Western-style democracy. Even many educated Chinese unabashedly insist that the bulk of their brethren are too unschooled or unsophisticated to participate in matters of politics and governing.
Give the people too long a leash, the thinking goes, and everyone will end up strangled.
Russell Leigh Moses, a Beijing-based analyst of Chinese politics, said that there was a prevailing sentiment in the Chinese-speaking world that too much freedom could only fuel disharmony and instability, viewed as archenemies of China’s drive to put economic development first.
“Jackie Chan said those things because he thinks they are true, and there are major sections of society who couldn’t agree with him more,” Mr. Moses said. “But such thinking is increasingly out of touch with this simmering debate about what the extent of state authority should be.”
Mr. Chan’s remarks provoked some navel-gazing, especially on the Internet. In a subtle subversion, Yan Lieshan, one of China’s best-known writers, suggested that no amount of government control could help a nation lacking manners and morals. Writing in Southern Weekend, a liberal-leaning newspaper in Guangzhou, Mr. Yan bemoaned the neighbors who dump trash on his sidewalk and the cars that speed down his narrow street. “How I wish the relevant authorities would come and enforce the rules, but there is no one to control them,” he wrote. “When you lodge a complaint, no one responds.”
Although he was reared in Hong Kong by parents who fled mainland China, Mr. Chan, 55, has been an unalloyed Chinese patriot. He sang during the closing ceremony of the Beijing Olympics, and he angrily denounced protesters who sought to interrupt the torch relay. During an earlier swat at electoral politics, he called the 2004 presidential elections in Taiwan “the biggest joke in the world.”
Even if he believes that Chinese people need more control, many observers suggested that Mr. Chan was simply seeking to stroke the authoritarian government that recently banned his latest film, “Shinjuku Incident,” because of excessive violence.
Hu Xingdou, an economics professor at the Beijing Institute of Technology, said he was so infuriated by what he described as Mr. Chan’s pandering that he was organizing a boycott of a May 1 concert Mr. Chan had scheduled at the Bird’s Nest in Beijing.
“It’s easy to sacrifice freedom when you’re treated like a V.I.P. or some high-level official every time you come to China,” said Mr. Hu, who is known for his tart criticisms. “I’m sure Jackie Chan has never thought about the suffering of the little people who have no power.”