By James W. DeMille
".....In this really expert education guide, DeMile provides an easy yet equipped method of considered one of Bruce Lee's dynamic techniques.
The fabrics is gifted in this type of means that anybody CAN examine THIS PUNCH successfully, despite his martial arts background."
[from the e-book of the again hide]
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Extra info for Bruce Lee's 1 and 3 Inch Power Punch
Given Chan’s argument about the ensnarement of Japanese martial arts within a commodifying process, then, from a Marxian perspective, such as that recently (re)developed by the influential cultural critic, Slavoj Žižek, Chan’s observations might immediately be taken to be the start and end-point – the culmination – of an argument. That is, from the perspective of Marxian economism (the view that the dictates of the economy determine in the last instance the beliefs and practices of culture and society), then the point about commodification may be regarded as the last word on the matter – as if proving that culture has been decisively colonised by capitalism, that all beliefs and practices are ideological (because they are commodified myths that we have bought into), and that cultural practices like martial arts are simply a kind of modern ‘opium of the masses’.
As we will explore in more depth in Chapter Four, there are problems to do with the preconception of ‘the’ audience as if it is one – as if it is a homogeneous mass. There are also problems to do with the apparent conception of ‘the’ audience as a ‘monkey see, monkey do’ knee-jerk/stimulus-response mass. We will return to such problems more fully in subsequent chapters. But perhaps most problematic of all is the move in Tierney’s argument from close textual analysis and demonstrations of a structurally-produced ethnocentric bias in these Hollywood productions, to shifting the burden of responsibility – indeed, blame – onto the audience.
Tierney 2007: 622) This is a very provocative and plausible argument. However, instead of following through with an analysis or discussion of the precise characteristics, mechanisms, relations and effects of these ‘consequences’, Tierney makes a very particular move: his conclusion takes the form of a move away from a focus on the textually-produced ethical stances that these texts adopt towards ethnicity, and indeed even away from the question of ‘consequences that reach far beyond the movie theater’.
Bruce Lee's 1 and 3 Inch Power Punch by James W. DeMille