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The first Hong Kong action films favoured the wuxia style, emphasizing mysticism and swordplay, but this trend was politically suppressed in the 1930s and replaced by kung fu films that depicted more down-to-earth unarmed martial arts, often featuring folk hero Wong Fei Hung.

Post-war cultural upheavals led to a second wave of wuxia films with highly acrobatic violence, followed by the emergence of the grittier kung fu films for which the Shaw Brothers studio became best known.

The innovative work of directors and producers like Tsui Hark and John Woo introduced further variety (for example, gunplay, triads, heroic bloodshed, and the supernatural).

An exodus by many leading figures to Hollywood in the 1990s coincided with a downturn in the industry.

These were tales of heroic, sword-wielding warriors, often featuring mystical or fantasy elements.

It combines elements from the action film, as codified by Hollywood, with Chinese storytelling, aesthetic traditions and filmmaking techniques, to create a culturally distinctive form that nevertheless has a wide transcultural appeal.

In recent years, the flow has reversed somewhat, with American and European action films being heavily influenced by Hong Kong genre conventions.

Animation and special effects drawn directly on the film by hand were used to simulate the flying abilities and other preternatural powers of characters; later titles in the cycle included The Six-Fingered Lord of the Lute (1965) and Sacred Fire, Heroic Wind (1966). 1974) In the second half of the 1960s, the era's biggest studio, Shaw Brothers, inaugurated a new generation of wuxia films, starting with Xu Zenghong's Temple of the Red Lotus (1965), a remake of the 1928 classic.

A countertradition to the wuxia films emerged in the kung fu movies that were also produced at this time. These Mandarin productions were more lavish and in colour; their style was less fantastical and more intense, with stronger and more acrobatic violence.

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The early 1970s saw wuxia giving way to a new, grittier and more graphic (and Mandarin-speaking) iteration of the kung fu movie, which came to dominate through the decade and into the early 1980s.