Indeed, Chinese films that portray superstition, gods, and demons are Shenguai films while those consisting of sword fighting, kung Fu, and supernaturalism are wuxia films (Teo 99).
However, the KMT government in Najing imposed a ban on the films with gods and demons in the early 1930 to hinder the irrational thinking, superstition, and pornography portrayed by such films. However, the ban only took effect in Shanghai but ignored in Hong Kong, which prompted many film industries to relocate to Hong Kong (Teo 101). Hong Kong was a British colony that provided a better environment for the filmmakers to improve their entertainment careers and earn a living just as they did in Shanghai.
The methods used in writing the thesis include gathering and collecting information about the Chinese film industries including the historical and current activities in the industry. The thesis shows the trend of the film industry and the impacts of politics and modernization in the industry. The participants in the research study include the filmmakers, actors, screenwriters, and the audience. In writing the thesis, the writer also uses male and female participants and hence portraying gender discourse. The thesis also portrays the effects of government bans on the industry and their evolution with time (Teo 101-108). Apparently, the writer focuses on the thesis statement throughout the study.
In collecting information, the researcher used questionnaires distributed to the audiences to assess and rate the perception of the audience on Chinese films. In addition, the researcher also interviewed some actors and filmmakers to understand their challenges in film production. Materials used in collecting information included field equipment like field notebook to write short notes on the views of the participants. These materials helped the researcher to gain information on how the audiences would like the film industry to be.
The reading ‘The Martial Arts Film in Chinese Cinema is