Bruce Lee with Jim Kelly

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Boxing Styles Definition of style "Style" is often defined as the strategic approach a fighter takes during a bout. No two fighters' styles are alike, as it is determined by that individual's physical and mental attributes. Three main styles exist in boxing: outside fighter ("boxer"), brawler (or "slugger"), and Inside fighter ("swarmer"). These styles may be divided into several special subgroups, such as counter puncher, etc. The main philosophy of the styles is, that each style has an advantage over one, but disadvantage over the other one. It follows the rock-paper-scissors scenario - boxer beats brawler, brawler beats swarmer, and swarmer beats boxer. Boxer/out-fighter A classic "boxer" or stylist (also known as an "out-fighter") seeks to maintain distance between himself and his opponent, fighting with faster, longer range punches, most notably the jab, and gradually wearing his opponent down. Due to this reliance on weaker punches, out-fighters tend to win by point decisions rather than by knockout, though some out-fighters have notable knockout records. They are often regarded as the best boxing strategists due to their ability to control the pace of the fight and lead their opponent, methodically wearing him down and exhibiting more skill and finesse than a brawler. Out-fighters need reach, hand speed, reflexes, and footwork. Notable out-fighters include Muhammad Ali, Larry Holmes, Joe Calzaghe Wilfredo Gómez, Salvador Sanchez, Cecilia Brækhus, Gene Tunney, Ezzard Charles, Willie Pep, Meldrick Taylor, Ricardo Lopez, Floyd Mayweather, Roy Jones, Jr., Sugar Ray Leonard, Miguel Vazquez, Sergio "Maravilla" Martínez, Vitali Klitschko, Wladimir Klitschko, and Guillermo Rigondeaux. This style was also used by fictional boxer Apollo Creed. Boxer-puncher A boxer-puncher is a well-rounded boxer who is able to fight at close range with a combination of technique and power, often with the ability to knock opponents out with a combination and in some instances a single shot. Their movement and tactics are similar to that of an out-fighter (although they are generally not as mobile as an out-fighter), but instead of winning by decision, they tend to wear their opponents down using combinations and then move in to score the knockout. A boxer must be well rounded to be effective using this style. Notable boxer-punchers include Muhammad Ali, Wladimir Klitschko, Lennox Lewis, Joe Louis, Wilfredo Gómez, Oscar de la Hoya, Archie Moore, Miguel Cotto, Nonito Donaire, Sam Langford, Henry Armstrong, Sugar Ray Robinson, Tony Zale, Carlos Monzón, Alexis Argüello, Erik Morales, Terry Norris, Marco Antonio Barrera, Naseem Hamed and Thomas Hearns. Counter puncher Counter punchers are slippery, defensive style fighters who often rely on their opponent's mistakes in order to gain the advantage, whether it be on the score cards or more preferably a knockout. They use their well-rounded defense to avoid or block shots and then immediately catch the opponent off guard with a well placed and timed punch. A fight with a skilled counter-puncher can turn into a war of attrition, where each shot landed is a battle in itself. Thus, fighting against counter punchers requires constant feinting and the ability to avoid telegraphing one's attacks. To be truly successful using this style they must have good reflexes, a high level of prediction and awareness, pinpoint accuracy and speed, both in striking and in footwork. Notable counter punchers include Muhammad Ali, Vitali Klitschko, Evander Holyfield, Max Schmeling, Chris Byrd, Jim Corbett, Jack Johnson, Bernard Hopkins, Laszlo Papp, Jerry Quarry, Anselmo Moreno, James Toney, Marvin Hagler, Juan Manuel Márquez, Humberto Soto, Floyd Mayweather, Jr., Roger Mayweather, Pernell Whitaker, Sergio Gabriel Martinez and Guillermo Rigondeaux. Counter punchers usually wear their opponents down by causing them to miss their punches. The more the opponent misses, the faster they tire, and the psychological effects of being unable to land a hit will start to sink in. The counter puncher often tries to outplay their opponent entirely, not just in a physical sense, but also in a mental and emotional sense. This style can be incredibly difficult, especially against seasoned fighters, but winning a fight without getting hit is often worth the pay-off. They usually try to stay away from the center of the ring, in order to outmaneuver and chip away at their opponents. A large advantage in counter-hitting is the forward momentum of the attacker, which drives them further into your return strike. As such, knockouts are more common than one would expect from a defensive style. Brawler/slugger A brawler is a fighter who generally lacks finesse and footwork in the ring, but makes up for it through sheer punching power. Mainly Irish, Irish-American, Puerto Rican, Mexican, and Mexican-American boxers popularized this style. Many brawlers tend to lack mobility, preferring a less mobile, more stable platform and have difficulty pursuing fighters who are fast on their feet. They may also have a tendency to ignore combination punching in favor of continuous beat-downs with one hand and by throwing slower, more powerful single punches (such as hooks and uppercuts). Their slowness and predictable punching pattern (single punches with obvious leads) often leaves them open to counter punches, so successful brawlers must be able to absorb substantial amounts of punishment. However, not all brawler/slugger fighters are not mobile; some can move around and switch styles if needed but still have the brawler/slugger style such as Wilfredo Gómez, Prince Naseem Hamed and Danny García. A brawler's most important assets are power and chin (the ability to absorb punishment while remaining able to continue boxing). Examples of this style include George Foreman, Rocky Marciano, Julio Cesar Chavez, Roberto Duran, Danny García, Wilfredo Gómez, Sonny Liston, John L. Sullivan, Max Baer, Prince Naseem Hamed, Ray Mancini, David Tua, Arturo Gatti, Micky Ward, Brandon Ríos, Ruslan Provodnikov, Michael Katsidis, James Kirkland, Marcos Maidana, Jake Lamotta, Manny Pacquiao, and Ireland's John Duddy. This style of boxing was also used by fictional boxers Rocky Balboa and James "Clubber" Lang. Brawlers tend to be more predictable and easy to hit but usually fare well enough against other fighting styles because they train to take punches very well. They often have a higher chance than other fighting styles to score a knockout against their opponents because they focus on landing big, powerful hits, instead of smaller, faster attacks. Oftentimes they place focus on training on their upper body instead of their entire body, to increase power and endurance. They also aim to intimidate their opponents because of their power, stature and ability to take a punch. Swarmer/in-fighter In-fighters/swarmers (sometimes called "pressure fighters") attempt to stay close to an opponent, throwing intense flurries and combinations of hooks and uppercuts. A successful in-fighter often needs a good "chin" because swarming usually involves being hit with many jabs before they can maneuver inside where they are more effective. In-fighters operate best at close range because they are generally shorter and have less reach than their opponents and thus are more effective at a short distance where the longer arms of their opponents make punching awkward. However, several fighters tall for their division have been relatively adept at in-fighting as well as out-fighting. The essence of a swarmer is non-stop aggression. Many short in-fighters utilize their stature to their advantage, employing a bob-and-weave defense by bending at the waist to slip underneath or to the sides of incoming punches. Unlike blocking, causing an opponent to miss a punch disrupts his balance, permits forward movement past the opponent's extended arm and keeps the hands free to counter. A distinct advantage that in-fighters have is when throwing uppercuts where they can channel their entire bodyweight behind the punch; Mike Tyson was famous for throwing devastating uppercuts. Marvin Hagler was known for his hard "chin", punching power, body attack and the stalking of his opponents. Some in-fighters, like Mike Tyson, have been known for being notoriously hard to hit. The key to a swarmer is aggression, endurance, chin, and bobbing-and-weaving. Notable in-fighters include Julio César Chávez, Miguel Cotto, Joe Frazier, Danny García, Mike Tyson, Manny Pacquiao, Saúl Álvarez, Rocky Marciano, Jack Dempsey, Wayne McCullough, Gerry Penalosa, Harry Greb, David Tua, Ricky Hatton and Gennady Golovkin. Combinations of styles All fighters have primary skills with which they feel most comfortable, but truly elite fighters are often able to incorporate auxiliary styles when presented with a particular challenge. For example, an out-fighter will sometimes plant his feet and counter punch, or a slugger may have the stamina to pressure fight with his power punches. Style matchups There is a generally accepted rule of thumb about the success each of these boxing styles has against the others. In general, an in-fighter has an advantage over an out-fighter, an out-fighter has an advantage over a brawler, and a brawler has an advantage over an in-fighter; these form a cycle with each style being stronger relative to one, and weaker relative to another, with none dominating, as in rock-paper-scissors. Naturally, many other factors, such as the skill level and training of the combatants, determine the outcome of a fight, but the widely held belief in this relationship among the styles is embodied in the cliché amongst boxing fans and writers that "styles make fights." Brawlers tend to overcome swarmers or in-fighters because, in trying to get close to the slugger, the in-fighter will invariably have to walk straight into the guns of the much harder-hitting brawler, so, unless the former has a very good chin and the latter's stamina is poor, the brawler's superior power will carry the day. A famous example of this type of match-up advantage would be George Foreman's knockout victory over Joe Frazier in their original bout "The Sunshine Showdown". Although in-fighters struggle against heavy sluggers, they typically enjoy more success against out-fighters or boxers. Out-fighters prefer a slower fight, with some distance between themselves and the opponent. The in-fighter tries to close that gap and unleash furious flurries. On the inside, the out-fighter loses a lot of his combat effectiveness, because he cannot throw the hard punches. The in-fighter is generally successful in this case, due to his intensity in advancing on his opponent and his good agility, which makes him difficult to evade. For example, the swarming Joe Frazier, though easily dominated by the slugger George Foreman, was able to create many more problems for the boxer Muhammad Ali in their three fights. Joe Louis, after retirement, admitted that he hated being crowded, and that swarmers like untied/undefeated champ Rocky Marciano would have caused him style problems even in his prime. The boxer or out-fighter tends to be most successful against a brawler, whose slow speed (both hand and foot) and poor technique makes him an easy target to hit for the faster out-fighter. The out-fighter's main concern is to stay alert, as the brawler only needs to land one good punch to finish the fight. If the out-fighter can avoid those power punches, he can often wear the brawler down with fast jabs, tiring him out. If he is successful enough, he may even apply extra pressure in the later rounds in an attempt to achieve a knockout. Most classic boxers, such as Muhammad Ali, enjoyed their best successes against sluggers. An example of a style matchup was the historical fight of Julio César Chávez, a swarmer or in-fighter, against Meldrick Taylor, the boxer or out-fighter (see Julio César Chávez vs. Meldrick Taylor). The match was nicknamed "Thunder Meets Lightning" as an allusion to punching power of Chávez and blinding speed of Taylor. Chávez was the epitome of the "Mexican" style of boxing. Taylor's hand and foot speed and boxing abilities gave him the early advantage, allowing him to begin building a large lead on points. Chávez remained relentless in his pursuit of Taylor and due to his greater punching power Chávez slowly punished Taylor. Coming into the later rounds, Taylor was bleeding from the mouth, his entire face was swollen, the bones around his eye socket had been broken, he had swallowed a considerable amount of his own blood, and as he grew tired, Taylor was increasingly forced into exchanging blows with Chávez, which only gave Chávez a greater chance to cause damage. While there was little doubt that Taylor had solidly won the first three quarters of the fight, the question at hand was whether he would survive the final quarter. Going into the final round, Taylor held a secure lead on the scorecards of two of the three judges. Chávez would have to knock Taylor out to claim a victory, whereas Taylor merely needed to stay away from the Mexican legend. However, Taylor did not stay away, but continued to trade blows with Chávez. As he did so, Taylor showed signs of extreme exhaustion, and every tick of the clock brought Taylor closer to victory unless Chávez could knock him out. With about a minute left in the round, Chávez hit Taylor squarely with several hard punches and stayed on the attack, continuing to hit Taylor with well-placed shots. Finally, with about 25 seconds to go, Chávez landed a hard right hand that caused Taylor to stagger forward towards a corner, forcing Chávez back ahead of him. Suddenly Chávez stepped around Taylor, positioning him so that Taylor was trapped in the corner, with no way to escape from Chávez' desperate final flurry. Chávez then nailed Taylor with a tremendous right hand that dropped the younger man. By using the ring ropes to pull himself up, Taylor managed to return to his feet and was given the mandatory 8-count. Referee Richard Steele asked Taylor twice if he was able to continue fighting, but Taylor failed to answer. Steele then concluded that Taylor was unfit to continue and signaled that he was ending the fight, resulting in a TKO victory for Chávez with only two seconds to go in the bout.

Boxing History Ancient history The earliest known depiction of boxing comes from a Sumerian relief in Iraq from the 3rd millennium BCE Later depictions from the 2nd millennium BC are found in reliefs from the Mesopotamian nations of Assyria and Babylonia, and in Hittite art from Asia Minor. The earliest evidence for fist fighting with any kind of gloves can be found on Minoan Crete (c.1650–1400 BCE), and on Sardinia, if we consider the boxing statues of Prama mountains (c. 2000–1000 BC). Boxing was a popular spectator sport in Ancient Rome. In order for the fighters to protect themselves against their opponents they wrapped leather thongs around their fists. Eventually harder leather was used and the thong soon became a weapon. The Romans even introduced metal studs to the thongs to make the cestus which then led to a more sinister weapon called the myrmex ('limb piercer'). Fighting events were held at Roman Amphitheatres. The Roman form of boxing was often a fight until death to please the spectators who gathered at such events. However, especially in later times, purchased slaves and trained combat performers were valuable commodities, and their lives were not given up without due consideration. Often slaves were used against one another in a circle marked on the floor. This is where the term ring came from. In AD 393, during the Roman gladiator period, boxing was abolished due to excessive brutality. It was not until the late 17th century that boxing re-surfaced in London. Early London prize ring rules Records of Classical boxing activity disappeared after the fall of the Western Roman Empire when the wearing of weapons became common once again and interest in fighting with the fists waned. However, there are detailed records of various fist-fighting sports that were maintained in different cities and provinces of Italy between the 12th and 17th centuries. There was also a sport in ancient Rus called Kulachniy Boy or "Fist Fighting". As the wearing of swords became less common, there was renewed interest in fencing with the fists. The sport would later resurface in England during the early 16th century in the form of bare-knuckle boxing sometimes referred to as prizefighting. The first documented account of a bare-knuckle fight in England appeared in 1681 in the London Protestant Mercury, and the first English bare-knuckle champion was James Figg in 1719. This is also the time when the word "boxing" first came to be used. It should be noted, that this earliest form of modern boxing was very different. Contests in Mr. Figg's time, in addition to fist fighting, also contained fencing and cudgeling. On 6 January 1681, the first recorded boxing match took place in Britain when Christopher Monck, 2nd Duke of Albemarle (and later Lieutenant Governor of Jamaica) engineered a bout between his butler and his butcher with the latter winning the prize. Early fighting had no written rules. There were no weight divisions or round limits, and no referee. In general, it was extremely chaotic. An early article on boxing was published in Nottingham, 1713, by Sir Thomas Parkyns, a successful Wrestler from Bunny, Nottinghamshire, who had practised the techniques he described. The article, a single page in his manual of wrestling and fencing, Progymnasmata: The inn-play, or Cornish-hugg wrestler, described a system of headbutting, punching, eye-gouging, chokes, and hard throws, not recognized in boxing today. The first boxing rules, called the Broughton's rules, were introduced by champion Jack Broughton in 1743 to protect fighters in the ring where deaths sometimes occurred. Under these rules, if a man went down and could not continue after a count of 30 seconds, the fight was over. Hitting a downed fighter and grasping below the waist were prohibited. Broughton encouraged the use of 'mufflers', a form of padded bandage or mitten, to be used in 'jousting' or sparring sessions in training, and in exhibition matches. These rules did allow the fighters an advantage not enjoyed by today's boxers; they permitted the fighter to drop to one knee to begin a 30-second count at any time. Thus a fighter realizing he was in trouble had an opportunity to recover. However, this was considered "unmanly" and was frequently disallowed by additional rules negotiated by the Seconds of the Boxers. Intentionally going down in modern boxing will cause the recovering fighter to lose points in the scoring system. Furthermore, as the contestants did not have heavy leather gloves and wristwraps to protect their hands, they used different punching technique to preserve their hands, because the head was a common target to hit full out. Almost all period manuals have powerful straight punches with the whole body behind them to the face (including forehead) as the basic blows. Marquess of Queensberry rules (1867) In 1867, the Marquess of Queensberry rules were drafted by John Chambers for amateur championships held at Lillie Bridge in London for Lightweights, Middleweights and Heavyweights. The rules were published under the patronage of the Marquess of Queensberry, whose name has always been associated with them. There were twelve rules in all, and they specified that fights should be "a fair stand-up boxing match" in a 24-foot-square or similar ring. Rounds were three minutes with one-minute rest intervals between rounds. Each fighter was given a ten-second count if he was knocked down, and wrestling was banned. The introduction of gloves of "fair-size" also changed the nature of the bouts. An average pair of boxing gloves resembles a bloated pair of mittens and are laced up around the wrists. The gloves can be used to block an opponent's blows. As a result of their introduction, bouts became longer and more strategic with greater importance attached to defensive maneuvers such as slipping, bobbing, countering and angling. Because less defensive emphasis was placed on the use of the forearms and more on the gloves, the classical forearms outwards, torso leaning back stance of the bare knuckle boxer was modified to a more modern stance in which the torso is tilted forward and the hands are held closer to the face. Late 19th and early 20th centuries Through the late nineteenth century, the martial art of boxing or prizefighting was primarily a sport of dubious legitimacy. Outlawed in England and much of the United States, prizefights were often held at gambling venues and broken up by police. Brawling and wrestling tactics continued, and riots at prizefights were common occurrences. Still, throughout this period, there arose some notable bare knuckle champions who developed fairly sophisticated fighting tactics. The English case of R v. Coney in 1882 found that a bare-knuckle fight was an assault occasioning actual bodily harm, despite the consent of the participants. This marked the end of widespread public bare-knuckle contests in England. The first world heavyweight champion under the Queensberry Rules was "Gentleman Jim" Corbett, who defeated John L. Sullivan in 1892 at the Pelican Athletic Club in New Orleans. The first instance of film censorship in the United States occurred in 1897 when several states banned the showing of prize fighting films from the state of Nevada, where it was legal at the time. Throughout the early twentieth century, boxers struggled to achieve legitimacy. They were aided by the influence of promoters like Tex Rickard and the popularity of great champions such as John L. Sullivan.

Jackie Chan Film career Early exploits: 1976–1979 Jackie Chan began his film career as a stuntman in the Bruce Lee films Fist of Fury (1972) and Enter the Dragon (1973, pictured). In 1976, Jackie Chan received a telegram from Willie Chan, a film producer in the Hong Kong film industry who had been impressed with Jackie's stunt work. Willie Chan offered him an acting role in a film directed by Lo Wei. Lo had seen Chan's performance in the John Woo film Hand of Death (1976) and planned to model him after Bruce Lee with the film New Fist of Fury. His stage name was changed to Sing Lung (Chinese: ??, also transcribed as Cheng Long, literally "become the dragon") to emphasise his similarity to Bruce Lee, whose stage name meant "Little Dragon" in Chinese. The film was unsuccessful because Chan was not accustomed to Lee's martial arts style. Despite the film's failure, Lo Wei continued producing films with similar themes, but with little improvement at the box office. Chan's first major breakthrough was the 1978 film Snake in the Eagle's Shadow, shot while he was loaned to Seasonal Film Corporation under a two-picture deal. Director Yuen Woo-ping allowed Chan complete freedom over his stunt work. The film established the comedic kung fu genre, and proved refreshing to the Hong Kong audience. Chan then starred in Drunken Master, which finally propelled him to mainstream success. Upon Chan's return to Lo Wei's studio, Lo tried to replicate the comedic approach of Drunken Master, producing Half a Loaf of Kung Fu and Spiritual Kung Fu. He also gave Chan the opportunity to co-direct The Fearless Hyena with Kenneth Tsang. When Willie Chan left the company, he advised Jackie to decide for himself whether or not to stay with Lo Wei. During the shooting of Fearless Hyena Part II, Chan broke his contract and joined Golden Harvest, prompting Lo to blackmail Chan with triads, blaming Willie for his star's departure. The dispute was resolved with the help of fellow actor and director Jimmy Wang Yu, allowing Chan to stay with Golden Harvest. Success in the action comedy genre: 1980–1987 Willie Chan became Jackie's personal manager and firm friend, and has remained so for over 30 years. He was instrumental in launching Chan's international career, beginning with his first forays into the American film industry in the 1980s. His first Hollywood film was The Big Brawl in 1980. Chan then played a minor role in the 1981 film The Cannonball Run, which grossed $100 million worldwide. Despite being largely ignored by audiences in favour of established American actors such as Burt Reynolds, Chan was impressed by the outtakes shown at the closing credits, inspiring him to include the same device in his future films. After the commercial failure of The Protector in 1985, Chan temporarily abandoned his attempts to break into the US market, returning his focus to Hong Kong films. Back in Hong Kong, Chan's films began to reach a larger audience in East Asia, with early successes in the lucrative Japanese market including The Young Master (1980) and Dragon Lord (1982). The Young Master went on to beat previous box office records set by Bruce Lee and established Chan as Hong Kong cinema's top star. With Dragon Lord, he began experimenting with elaborate stunt action sequences, including the final fight scene where he performs various stunts, including one where he does a back flip off a loft and falls to the lower ground. Chan produced a number of action comedy films with his opera school friends Sammo Hung and Yuen Biao. The three co-starred together for the first time in 1983 in Project A, which introduced a dangerous stunt-driven style of martial arts that won it the Best Action Design Award at the third annual Hong Kong Film Awards. Over the following two years, the "Three Brothers" appeared in Wheels on Meals and the original Lucky Stars trilogy. In 1985, Chan made the first Police Story film, a US-influenced action comedy in which Chan performed a number of dangerous stunts. It was named the "Best Film" at the 1986 Hong Kong Film Awards. In 1986, Chan played "Asian Hawk," an Indiana Jones-esque character, in the film Armour of God. The film was Chan's biggest domestic box office success up to that point, grossing over HK$35 million. Acclaimed sequels and Hollywood breakthrough: 1988–1998 In 1988, Chan starred alongside Sammo Hung and Yuen Biao for the last time to date, in the film Dragons Forever. Hung co-directed with Corey Yuen, and the villain in the film was played by Yuen Wah, both of whom were fellow graduates of the China Drama Academy. In the late 1980s and early 1990s, Chan starred in a number of successful sequels beginning with Project A Part II and Police Story 2, which won the award for Best Action Choreography at the 1989 Hong Kong Film Awards. This was followed by Armour of God II: Operation Condor, and Police Story 3: Super Cop, for which Chan won the Best Actor Award at the 1993 Golden Horse Film Festival. In 1994, Chan reprised his role as Wong Fei-hung in Drunken Master II, which was listed in Time Magazine's All-Time 100 Movies. Another sequel, Police Story 4: First Strike, brought more awards and domestic box office success for Chan, but did not fare as well in foreign markets. Chan rekindled his Hollywood ambitions in the 1990s, but refused early offers to play villains in Hollywood films to avoid being typecast in future roles. For example, Sylvester Stallone offered him the role of Simon Phoenix, a criminal in the futuristic film Demolition Man. Chan declined and the role was taken by Wesley Snipes. Chan finally succeeded in establishing a foothold in the North American market in 1995 with a worldwide release of Rumble in the Bronx, attaining a cult following in the United States that was rare for Hong Kong movie stars. The success of Rumble in the Bronx led to a 1996 release of Police Story 3: Super Cop in the United States under the title Supercop, which grossed a total of US$16,270,600. Chan's first huge blockbuster success came when he co-starred with Chris Tucker in the 1998 buddy cop action comedy Rush Hour, grossing US$130 million in the United States alone. This film made him a Hollywood star, after which he wrote his autobiography in collaboration with Jeff Yang entitled I Am Jackie Chan. Fame in Hollywood and Dramatization: 1999–2007 In 1998, Chan released his final film for Golden Harvest, Who Am I?. After leaving Golden Harvest in 1999, he produced and starred alongside Shu Qi in Gorgeous a romantic comedy that focused on personal relationships and featured only a few martial arts sequences. Although Chan had left Golden Havest in 1999, the company continued to produce and distribute for two of his films, Gorgeous (1999) and The Accidental Spy (2001). Chan then helped create a PlayStation game in 2000 called Jackie Chan Stuntmaster, to which he lent his voice and performed the motion capture. He continued his Hollywood success in 2000 when he teamed up with Owen Wilson in the Western action comedy Shanghai Noon which spawned the sequel Shanghai Knights (2003). He reunited with Chris Tucker for Rush Hour 2 (2001) which was an even bigger success than the original grossing $347 million worldwide. He experimented with special effects with The Tuxedo (2002) and The Medallion (2003) which were not as successful critically or commercially. In 2004 he teamed up with Steve Coogan in the big-budget loose adaptation of Jules Verne's Around the World in 80 Days. Despite the success of the Rush Hour and Shanghai Noon films, Chan became frustrated with Hollywood over the limited range of roles and lack of control over the filmmaking process. In response to Golden Harvest's withdrawal from the film industry in 2003, Chan started his own film production company, JCE Movies Limited (Jackie Chan Emperor Movies Limited) in association with Emperor Multimedia Group (EMG). His films have since featured an increasing number of dramatic scenes while continuing to succeed at the box office; examples include New Police Story (2004), The Myth (2005) and the hit film Rob-B-Hood (2006). Chan's next release was the third instalment in the Rush Hour series: Rush Hour 3 in August 2007. It grossed US$255 million. However, it was a disappointment in Hong Kong, grossing only HK$3.5 million during its opening weekend. New experiments and change in style: 2008–present Filming of The Forbidden Kingdom (released in 2008), Chan's first onscreen collaboration with fellow Chinese actor Jet Li, was completed on 24 August 2007 and the movie was released in April 2008. The movie featured heavy use of effects and wires. Chan voiced Master Monkey in Kung Fu Panda (released in June 2008), appearing with Jack Black, Dustin Hoffman, and Angelina Jolie. In addition, he has assisted Anthony Szeto in an advisory capacity for the writer-director's film Wushu, released on 1 May 2008. The film stars Sammo Hung and Wang Wenjie as father and son. In November 2007, Chan began filming Shinjuku Incident, a dramatic role featuring no martial arts sequences with director Derek Yee, which sees Chan take on the role of a Chinese immigrant in Japan. The film was released on 2 April 2009. According to his blog, Chan discussed his wishes to direct a film after completing Shinjuku Incident, something he has not done for a number of years. The film expected to be the third in the Armour of God series, and had a working title of Armour of God III: Chinese Zodiac. The film was released on 12 December 2012. Because the Screen Actors Guild did not go on strike, Chan started shooting his next Hollywood movie The Spy Next Door at the end of October in New Mexico. In The Spy Next Door, Chan plays an undercover agent whose cover is blown when he looks after the children of his girlfriend. In Little Big Soldier, Chan stars, alongside Leehom Wang as a soldier in the Warring States period in China. He is the lone survivor of his army and must bring a captured enemy soldier Leehom Wang to the capital of his province. In 2010 he starred with Jaden Smith in The Karate Kid, a remake of the 1984 original. This was Chan's first dramatic American film. He plays Mr. Han, a kung fu master and maintenance man who teaches Jaden Smith's character kung fu so he can defend himself from school bullies. His role in The Karate Kid Jackie Chan the Favorite Buttkicker award at the Nickelodeon Kids' Choice Awards in 2011. In Chan's next movie, Shaolin, he plays the cook of the temple instead of one of the major characters. His 100th movie, 1911, was released on 26 September 2011. Chan was the co-director, executive producer, and lead star of the movie. While Chan has directed over ten films over his career, this was his first directorial work since Who Am I? in 1998. 1911 premiered in North America on 14 October. While at the 2012 Cannes Film Festival, Chan announced that he was retiring from action films citing that he was getting too old for the genre. He later clarified that he would not be completely retiring from action films, but would be performing fewer stunts and taking care of his body more. In 2015, Chan was awarded the title of "Datuk" by Malaysia as he helped Malaysia to boost its tourism, especially in Kuala Lumpur where he previously shot his films. Upcoming films include the Indo-China project titled "Kung Fu Yoga" which also stars Sonu Sood and Amyra Dastur. The film also reunites Chan with director Stanley Tong, who directed a number of Chan's films in the 1990s.

Jackie Chan Early life Chan was born on 7 April 1954, in British Hong Kong, as Chan Kong-sang, to Charles and Lee-Lee Chan, refugees from the Chinese Civil War. He was nicknamed Pao-pao Chinese: ?? ("Cannonball") because the energetic child was always rolling around. His parents worked for the French ambassador in Hong Kong, and Chan spent his formative years within the grounds of the consul's residence in the Victoria Peak district. Chan attended the Nah-Hwa Primary School on Hong Kong Island, where he failed his first year, after which his parents withdrew him from the school. In 1960, his father emigrated to Canberra, Australia, to work as the head cook for the American embassy, and Chan was sent to the China Drama Academy, a Peking Opera School run by Master Yu Jim-yuen. Chan trained rigorously for the next decade, excelling in martial arts and acrobatics. He eventually became part of the Seven Little Fortunes, a performance group made up of the school's best students, gaining the stage name Yuen Lo in homage to his master. Chan became close friends with fellow group members Sammo Hung and Yuen Biao, and the three of them later became known as the Three Brothers or Three Dragons. After entering the film industry, Chan along with Sammo Hung got the opportunity to train in hapkido under the grand master Jin Pal Kim, and Chan eventually attained a black belt. Jackie Chan also trained in other styles of martial arts such as karate, judo, taekwondo, and Jeet Kune Do. He began his career by appearing in small roles at the age of five as a child actor. At age eight, he appeared with some of his fellow "Little Fortunes" in the film Big and Little Wong Tin Bar (1962) with Li Li-Hua playing his mother. Chan appeared with Li again the following year, in The Love Eterne (1963) and had a small role in King Hu's 1966 film Come Drink with Me. In 1971, after an appearance as an extra in another kung fu film, A Touch of Zen, Chan was signed to Chu Mu's Great Earth Film Company. At seventeen, he worked as a stuntman in the Bruce Lee films Fist of Fury and Enter the Dragon under the stage name Chan Yuen Lung (Chinese: ???). He received his first starring role later that year in Little Tiger of Canton that had a limited release in Hong Kong in 1973. In 1975, due to the commercial failures of his early ventures into films and trouble finding stunt work, Chan starred in a comedic adult film All in the Family in which Chan appears in his first nude sex scene. It is the only film he has made to date without a single fight scene or stunt sequence. Jackie Chan later also appeared in one other sex scene, in Shinjuku Incident. Chan joined his parents in Canberra in 1976, where he briefly attended Dickson College and worked as a construction worker. A fellow builder named Jack took Chan under his wing, thus earning Chan the nickname of "Little Jack" that was later shortened to "Jackie", and the name Jackie Chan has stuck with him ever since. In the late 1990s, Chan changed his Chinese name to Fong Si-lung (Chinese: ???), since his father's original surname was Fong.