Tiger Killer, 1982 Shaw Brothers adaptation of Jin Ping Mei directed by Li Han-Hsiang (李翰祥). This is one of at least three adaptions of the same book directed by Li, the other two being Category III sexploitation films The Golden Lotus (1974) and Love and Desire (1991).
Source: “Grand Ball Given by the Whales in Honor of the Discovery of the Oil Wells in Pennsylvania.” Vanity Fair 20 Apr. 1961 : 186 as reproduced in Alexis C. Madrigal’s “The Blood Harvest.” The Atlantic (2014): n. pag. m.theatlantic.com.
THOUGH controversy concentrates on the effects of the cinema on child audiences, some other characteristic twentieth-century influences have not been forgotten. In the United States, where millions of adults as well as children show addiction to the comic strip, the matter and symbolism of the “comic ” convention, and the extraordinary response that it seems to evoke in the adult public, are examined in an angry but informative and entertaining little book by Legman. [Love and Death: By G. Legman. New York: Breaking Point Press. 1949. Pp. 95] Collecting a series of peculiarities of this form of commercial art, he records that in a girl’s periodical, within a few weeks, brides in their wedding dresses were dumped in the mud on no less than seven occasions ; and on a basis of one such picture per page, he calculates that by adolescence the American child will have absorbed something like 18,000 sadistic pictures. Attempts to provide better motives and loftier themes have .been revealingly unsuccessful, though there have been Biblical and religious comics, one of which was largely devoted to the tortures inflicted on martyrs. As a result of protests, including a particularly strong one from Wertham, whose experience of the psychiatric aspects of violent crime is among the longest in the United States, there has lately been a certain change of front a recent magazine article listed some hundred ” love story ” titles which had replaced ” crime ” titles (Western Killers, for example, was transmuted into My True Love), while the survivors emphasise the hardships of crime and the certainty of retribution. How far this change is for the better, English readers can hardly judge; though, as Legman remarks, “if degenerates are to influence the education of our children, the worst love is probably preferable to the best killings.” Hitherto the censors have always shown themselves more tolerant to blows than to kisses; they “see thousands of pictures in comic-books of half-naked women being tortured to death, and complain only that they are half-naked…. Comic-books do not exist in a vacuum. American parents see nothing wrong with the fictional violence of the comic-books because they are themselves addicted to precisely the same violence in reality…. At least sex is normal: is murder? ”
The vigour of this polemic is somewhat blunted for readers in a society where addiction to comics is less intense and where some of the native productions maintain a high standard of homely fun. In issuing, a new English comic to compete with imported varieties, the Hulton Press seem to have taken no chances of becoming involved in a similar controversy. The editor is a clergyman, and the matter, like that of Dick Barton, is based on a nicely adjusted distinction between violence which is sadistic and violence which releases “healthy aggression.” Besides a good deal of information about the inside of locomotives and of germinating seeds, this comic produces heroes who are scrupulous in finding socially acceptable outlets for their two-fistedness. One flies to Venus in a rocket, at the behest of World Government, to find new means of growing food -for an over- populated world. Others organise international espionage to secure the atom bomb against international crooks, being at pains to point out that such an arrangement is to everyone’s advantage, on both sides of the Iron Curtain. On the back page we find the voyages of St. Paul. While not meeting Legman’s criticisms of violence as a sexual substitute (it could hardly be expected to do so) the Hulton publication balances itself fairly well between edification and blood-and-thunder on the assumption that the second does not necessarily have to be frankly unedifying. It is the streak of psycho- pathology which is alarming in the American article, and this at least is avoided. The Jeremiahs who denounced Sweeney Todd or the Steam Man as subversive of youth had not the same strong reason as those who now denounce Superman and the Katzenjammer Kids— namely, that our generation has seen similar patterns of fantasy realised elsewhere than on paper, and has found them singularly uncongenial.
In TSoT I saw something remarkable that I’ve almost never seen in mainstream drama: men in love, open and comfortable with something that felt more than friendship, but didn’t need a name other than “love best in the world.” John’s hand on Sherlock’s knee represents the end of the no-homo, the erasure of the homophobic prohibition. The episode undoes some misogyny, too, because Mary as an active agent is essential to their ability to use the word: “The two people I love best in the world,” John says. “The two people who love you best in the world,” says Sherlock. Mary’s not so much between them as beside them, keeping them safe to say love.
But then Steven Moffat came along, and the tender drunken touch and the explicit vows of love were replaced by a cool formal handshake and a joke.
(Note: I’m not Moffat-bashing here. I believe he’s a perfectly fine fellow, all things considered. But he’s a product of his age, sex, and gender, and some elements of this episode, which he wrote alone, speak to his position as a het man in a het-centric culture. He didn’t think to himself, “Damn, we need some homophobia and misogyny up in this bitch.” But he did want to write the Boy’s Own Story of a clever man and his buddy, and that story calls for the social arrangement that feels natural and right to a man with het privilege.)
As soon as the Hairy Devil saw that there was no way out with bloodshot eyes and a wide open mouth he reached out with his demon-clawed hands and ferociously charged Dashan. In a flash, Dashan seized the opportunity to lift his leg in a flying kick and punt the foreign devil out the window. With a pathetic yelp he fell to his death.
- 《义和团传说故事：活捉丁二阎王》 原著: 王同勋、陈景祥 改编: 金白羽、石田 绘图: 板桥 出版： 山东滨州新华印刷厂 1960年7月 [Boxer Legends: Second Brother Ding Captures Yama Alive, Original Story by Wang Tongxun and Cheng Jingxiang, Adapted by Jin Baiyu and Shi Tian, Illustrated by Ban Qiao, Published by Xinhua Press in Binzhou city, Shandong province, July, 1960].
- Robert Joe Cutter， "Well, how’d you become king, then?“ Swords in Early Medieval China （March 18, 2012 Presidential Address to the American Oriental Society, reproduced in the Journal of the American Oriental Society 132.4)