What encouraged me to join the Wushu & Tai Chi NSW was working with enthusiastic members and sharing ideas with them. I have been keen to bring along and assess how to put into practice new ideas for the Committee, Wushu Herald and the Council.
By being an advisor to the Committee, I have expanded my knowledge about Tai Chi, enhanced my confidence in public speaking in large groups and formed networks with knowledgeable people.
I am an advisor to the Wushu & Tai Chi NSW Committee of Management. I have only been learning and practising Tai Chi and Qigong for a short period of time and have discovered the immense health and social benefits of practising these arts. I therefore welcome any opportunity to contribute to the furthering of the practice and the growth of Wushu Council Australia through my work at the NSW State Association helping with documentation.
I came to learn about Tai Chi and Qigong in 2013 when my employer started its first staff lunch time Tai Chi session in Health Awareness week. I found the Tai Chi moves amazing and fell in love with it. Since then, I have learnt a number of different forms, including Fan and Sword. I enjoy it very much and practise regularly.
As the Communication Officer, I help disseminate information on seminars, workshops and conferences organised by our Association.
Journal of Chinese Cinemas
Volume 12, 2018 – Issue 1
Pages 92-110 | Published online: 11 Jan 2018
By looking at selected sequences from Wong Kar-wai’s 2013 The Grandmaster in which characters, especially Gong Er (played by Zhang Ziyi), interact with the ubiquitous falling snow created by particle systems, this essay argues that the film’s effects work visualizes the invisible flow of energy in traditions of Chinese visual culture, medicine and martial arts – all prominent or related motifs in the film’s narrative. Moreover, such energy gets to be envisaged because of the very medium of the particle system, with its ideology closely related to a worldview based on animism and animation. Growing out of Wong’s use of visual effects – specific to the cultural-historical context of the film – and the animist concept behind its technology, I offer a relational perspective for contemporary studies of visual effects to conceptualize the interactions between martial arts actions performed in front of the camera and digital work in the postproduction stage.
About the Author
Pao-chen Tang studies in the joint doctoral program of Cinema and Media Studies and East Asian Languages and Civilizations at the University of Chicago. His research revolves around nonhuman entities in the cinema, especially landscapes and animals. His essay on dogs (and hot dogs) in early cinema received the 2015 Domitor Student Award and was published in Early Popular Visual Culture.